Elira Lluka

Skenë nga shfaqja “Kabare 1999” nën regji të Zana Hoxhës, e dhënë premierë në Teatrin e Qytetit të Gjilanit, më 5 shkurt 2026 (Foto: Rilind Beqa)

Nga: Berat Bajrami

https://www.koha.net/shtojca-kulture/kabare-1999-liria-si-feste-e-deshperuar-plage-e-kenge-qe-smbaron

Regjisorja Zana Hoxha, e bazuar në veprën “Cabaret” të Joe Masteroffit, e zhvendos ngjarjen nga Berlini i viteve 1930 në Prishtinën e vitit 1999 – një qytet i sapodalë nga lufta, plot me adrenalinën e lirisë së re, i përhumbur në erën e djegur të shtëpive, mungesën e njerëzve e lulëzimin e tregtisë së “më të fortit”. “Kabare 1999” është një realizëm i Kosovës së pasluftës që ende është në kërkim të të mësuarit për të jetuar

“Willkommen, bienvenue, mirë se vini…”, është thirrja që hap botën e “Kabare 1999”, një thirrje që tingëllon si premtim për festë, por që, sa më shumë zgjat shfaqja, aq më shumë kthehet në një ironi të hidhur. Mbrëmjen e më 5 shkurtit 2026, në Teatrin e Qytetit të Gjilanit, kjo kabare u shfaq si një hapësirë e ndarë mes dy botëve: mes dëshirës për të jetuar dhe tregtisë me plagët, mes lirisë së sapofituar dhe frikës së një sistemi që gllabëron secilin që guxon të jetojë i lirë.

Regjisorja Zana Hoxha, e bazuar në veprën “Cabaret” të Joe Masteroff, e zhvendos ngjarjen nga Berlini i viteve 1930 në Prishtinën e vitit 1999 – një qytet i sapodalë nga lufta, plot me adrenalinën e lirisë së re, i përhumbur në erën e djegur të shtëpive, mungesën e njerëzve e lulëzimin e tregtisë së “më të fortit”.

“Klub Europa” është flluska e “lumturisë”, e jetës pa probleme, e lirisë “së plotë” në shndritjen e dritave dhe magjinë e muzikës së pafundme. Aty ku jeta është qejf e plot ngjyra.

Paslufta në kërkim të të mësuarit për të jetuar

Zgjedhjet regjisoriale të Zana Hoxhës na sjellin në jetë personazhe të zakonshme në pamje të parë, porse gjithsecili e përplotëson njëri-tjetrin, secili ka peshën, ngjarjen, luftën dhe mënyrën e vet të konceptimit të jetës. Secili është kompleks, në të njëjtën kohë. Një realizëm i Kosovës së pasluftës që ende është në kërkim të të mësuarit për të jetuar.

Zymtësinë e përditshmërisë së pasluftës personazhet e ndrydhin dhe jetojnë mes dashnisë, seksit e qejfeve në Prishtinën që përqafon individualitetin e atyre që guxojnë, edhe pse të goditur ashpër nga lufta për mbijetesë.

“Kabare 1999” e shemb murin e katërt, publiku nuk është vetëm dëshmitar i ngjarjeve, ai është pjesë e saj me të qeshura e vallëzime. Personazhet janë të shkrira me publikun, të ulur edhe në mesin e tyre bashkëjetojnë momentet. Momente që rrjedhin natyrshëm dhe skena që të bëjnë ta humbësh ndjenjën e kohës. Rrjedhja e shfaqjes është organike, e pasforcuar – nga loja e aktorëve, balerinëve, muzikantëve, e deri te kostumet dhe skenografia.

“Kabare 1999” na sjell Kosovën e pasluftës jo si heroizëm të ngrirë, por si jetë e gjallë, e çrregullt, por ende e padorëzuar plotësisht (Foto: Rilind Beqa)

Një moment që e avancon teatrin vendor

Profesori universitar dhe regjisori, Fadil Hysaj, thotë se ky është teatri i vërtetë dhe “Kabare 1999” e avancon teatrin kosovar.

“Shfaqjet e mira nuk kanë moment, ato rrjedhin skenë pas skene. Ndihesh edhe komod në kuptimin e mirë, kulturalisht, por në të njëjtën kohë sheh se aktorët janë prej fillimit tërë kohën në një pjesë të një koncepti, në këtë rast që ka pasur Zana, edhe secili artist i pranishëm aty, prej balerinëve, kompozitorit, aktorëve, secili është i lirë. Ka një rrjedhë të magjishme dhe ka hapësirë me thënë atë që ndien dhe me thënë në mënyrën më të mirë të mundshme. Shfaqja ka frymëmarrje. Kurrkush, asnjëri prej aktorëve, s’do me tregu tash: ‘Unë kallëzoj çka di me bo’. Por ata luajnë me një koncept. Ky është një moment që e avancon teatrin tonë”, është shprehur Hysaj pas premierës së shfaqjes. “Ky është teatri i vërtetë kur kori vallëzon, kori këndon, krijon personazh, shpreh mendim, por në të njëjtën kohë të gjitha bashkërisht bëhen pjesë të një koncepti, edhe atë koncept e përpin publiku, e pranon emocionalisht në fund kur kryhet shfaqja, e kthen tek artistët me duartrokitje dhe i bën që mos me harru një ngjarje të tillë”.

“Harrojnë shtëpitë e djegura. Personat e zhdukur…”

Në qendër të shfaqjes është Aida, e cila e sheh qytetin me sytë e dikujt që dëshiron të besojë, të jetojë lirinë, e të ëndërrojë. Ajo përpiqet të mbajë distancën estetike, por distanca prishet nga varfëria, nga nevoja për punë, nga tërheqja ndaj Sonit, nga përballja me Claudion, nga kërcënimi i MC-së e bashkëpunimi me Ernestin. Ajo shprehet: “Më pëlqen ky qytet. Është vulgar. I rrëmujshëm. I zhurmshëm. Dhe të gjithë sillen sikur me ardhjen e lirisë të gjitha problemet janë zhdukur”.

Në këtë fjali ka një admirim dhe një ankth njëkohësisht. Sepse menjëherë pas saj vjen kujtesa: “Por harrojnë. Harrojnë shtëpitë e djegura. Personat e zhdukur. Familjet e shkatërruara.”

Kjo është drama e vërtetë e shfaqjes. Jo lufta – por ajo që ndodh pas saj. Momenti kur njerëzit duan të jetojnë, të këndojnë, të duan, të fitojnë para, të ndërtojnë një normalitet, ndërsa një pjesë e tyre ende kërkon të vdekurit.

Në qendër të moralit të shfaqjes qëndron Shyretja, nëna që kërkon djalin e zhdukur, Fatbardhin. Ajo nuk është vetëm figurë tragjike; ajo është figurë ontologjike. “Kur ai u zhduk, emri i tij u bë ironi: fati nuk ishte më i bardhë, por i paqartë, i prerë në mes. I këputur nga lufta”.

Mirëpo Shyretja nuk e pranoi zhdukjen si fund, ajo vazhdonte të kërkonte informacione. Dhe kjo histori nis aty: te vendimi i saj për të mos e mbyllur kërkimin — “sepse disa histori ekzistojnë për të dëshmuar se fundi ende nuk është vendosur”.

Liria është të mos harrosh

Në këtë akt kërkimi që nuk përfundon, shfaqja e gjen një nga kuptimet më të thella të lirisë. Liria nuk është vetëm të jetosh. Liria është të mos harrosh. Është të mos pranosh mbyllje të rreme.

Por përballë kësaj qëndron një botë tjetër – ajo e kabaresë, e cila është më shumë se një lokal. Është një sistem. Një ritëm. Një mënyrë për të harruar. MC e përkufizon këtë filozofi me brutalitet kur këndon: “Parja botën rrotullon”. Dhe papritur, gjithçka bëhet mall – dashuria, trupi, ëndrra, shpresa. Shiten vajza ruse, japoneze, franceze, amerikane… dhe pastaj kosovare “të reja dhe të paprekura”.

“Njerëzit s’janë zhdukur vetëm nga plumbat. Janë zhdukur edhe nga pazaret. […] Me informata. Me shpresë të rreme. Dikush ka bërë tregti me fatin e të zhdukurve. Heshtje”. Këto fjalë të Sonit, të drejtuara ndaj Ernestit, janë akuzë e hapur. Ernesti (dhe MC) bëhen personifikimi i kapitalizmit primitiv të paqes – tregtarë të dhimbjes që blejnë dhe shesin heshtje, shpresë, kohë.

Në këtë botë, liria nuk është më një e dhënë. Ajo bëhet diçka që duhet negociuar çdo ditë. Kjo shfaqet qartë në përballjen mes Aidës dhe MC-së, kur ai i thotë me qetësi: “Këtu rehatinë e ke veç kur ta lejon dikush”.

Dhe më pas, si një ligj i heshtur i realitetit të ri: “Njeri? K’tu njeri bëhesh… veç kur t’lejojnë.”

Pikërisht këtu shfaqja ngre pikëpyetje: çfarë vlere ka liria nëse dinjiteti varet nga leja e dikujt tjetër? Dhe çfarë do të thotë të mbetesh njeri në një vend ku gjithçka mund të blihet?

Por “Kabare 1999” nuk është vetëm kaos. Brenda saj ka një dëshirë të fortë për të jetuar. Ajo shfaqet në mënyra të vogla, të papritura, ndonjëherë të brishta, por me humor e plot dashni. Në dashurinë e vonë mes Afërditës dhe Agimit, që duket pothuaj naive, por që është një akt i heshtur rezistence ndaj vetmisë. Në marrëdhënien e ndërlikuar të Dudijes me ushtarët e huaj, ku mbijetesa dhe mirënjohja përzihen në një zonë morale të paqartë. Në vetë Aidën, që vazhdon të shkruajë edhe kur e kupton se historia e saj nuk është më vetëm për të zhdukurin, por për ata që përfitojnë nga mungesa e tij. Këto nuk janë histori heroike. Janë përpjekje për të jetuar. Për të dashur. Për të mos u shuar.

Zymtësinë e përditshmërisë së pasluftës personazhet e ndrydhin dhe jetojnë mes dashnisë, seksit e qejfeve në Prishtinën që përqafon individualitetin e atyre që guxojnë, edhe pse të goditur ashpër nga lufta për mbijetesë (Foto: Rilind Beqa)

Jetë që nuk dorëzohet plotësisht

Për aktoren Semira Latifi, që e luan Aidën, formati i kabaresë ia ka lehtësuar procesin e krijimit të personazhit, teksa beson se shfaqja do të ketë jetëgjatësi.

“Mundem me thënë që kjo na ka ndihmuar shumë (formati kabare), na ka lehtësuar shumë për ta ndërtuar një personazh, e ka plotësuar personazhin shumë, si personazhin tim edhe të gjitha personazhet e tjera të cilat kanë skena së bashku, kanë storie së bashku. Është një formë e mirë e aktrimit ku secili aktor mundet me shfaqë talentin e vet në formën më të mirë të mundshme para publikut e që sonte ndodhi që publiku e priti tepër mirë, reagimet ishin tepër të mira edhe mendoj që është një projekt i cili ka me pas një jetë të gjatë edhe një publik shumë të fortë brenda vetes”, është shprehur ajo.

Kurse aktorja Aurita Agushi është shprehur se aventura e këtij produksioni veçse ka nisur.

“Jam e stërkënaqur (me reagimet e publikut) sepse aktori në skenë e ndjenë energjinë e publikut. Ia ndien edhe frymëmarrjen, ia ndien edhe energjinë. E di që aventura jonë veç sa ka nis edhe ka me qenë shumë e bukur me krejt ata bashkë që kanë me ardhë me pa këtë spektakël”, ka thënë Agushi, që luan në rolin e zonjës Afërdita.

Në fund, shfaqja nuk ofron një përgjigje. Ajo nuk e mbyll plagën. Nuk e shpëton askënd plotësisht. Por, ajo na lë me një ndjenjë të fortë: se jeta, edhe kur është e çrregullt, edhe kur është e ndotur, vazhdon të kërkojë lumturinë.

“Kabare 1999” na sjell Kosovën e pasluftës jo si heroizëm të ngrirë, por si jetë e gjallë, e çrregullt, por ende e padorëzuar plotësisht.

“Mirë se vini në kabare. Dhe mos harroni – drita fiket kur vendosim ne”.

On February 5, the City Theater of Gjilan hosted the premiere of Kabare 1999, attended by around 100 audience members. This musical theater piece transports the story from 1930s Berlin to Prishtina in 1999 – a city emerging from war, learning to live again amid hope, exhaustion, and the desire for life.

Directed by Zana Hoxha, the play creates a space where reality and performance intertwine, where life is performed as spectacle while trauma and absence quietly linger beneath the lights and music. At its center is Aida (Semira Latifi), a writer who dreams of witnessing, understanding, and recording the stories of the missing, yet finds herself drawn into a world where everything is measured by a price.

Through her and the other characters – MC (Kushtrim Qerimi), Soni (Edon Shileku), Ernesti (Gëzim Bucolli), Afërdita (Aurita Agushi), Dudija (Safete Mustafa Baftiu), Claudio (Gani Rrahmani), Agimi (Ali Demi), Gruaja (Mejreme Berisha), and the soldier (Blend Arifi) – the play reflects on freedom, subjectivity, and morality in a society just emerging from conflict.

Kabare 1999 examines how memory, hope, and the desire to live remain acts of resistance in a society striving to rebuild itself after trauma. A co-production of the City Theater of Gjilan and Artpolis, supported by the Ministry of Culture, Youth, and Sports and the Municipality of Gjilan, the play offers no easy answers but invites reflection on life, memory, and the space where freedom and tragedy coexist.

29-30.11.2025

“Women of Troy” continued their journey throughout November with two powerful performances in Serbia. On November 29, 2025, at the Reflektor Theater Festival in Belgrade, and the following day at Puls Teatar in Lazarevac, the play showed that the legend of Troy is not just an ancient story, but a living reflection of the suffering of women who endure war and its aftermath.

The contemporary direction by Zana Hoxha and Maja Mitić offered a fresh and striking interpretation: Hecuba, Cassandra, and Andromache became mirrors of today’s women, confronting oppression, loss, displacement, and violence. The audience witnessed not only the tragedy of individual characters but also the weight that history has placed on women through the centuries, realizing that pain does not belong only to the past—it echoes across generations.

Actors Maja Mitić, Shpëtim Selmani, Semira Latifi, Branka Stojković, Qëndresa Kajtazi, Labinot Raci, and Aleksandar Stoimenovski created a deeply moving theatrical experience, blending the power of body, voice, and silence into a universal language of emotion.

Audiences of around 150 people at each performance left both shaken and inspired, recognizing that the strength and resilience of women is not merely ancient history—it is a reality that demands to be heard every day.

During the presentation in Belgrade, a discussion with the audience also took place, who shared comments and raised numerous questions about the production process, the themes addressed, the artistic collaboration, and the challenges of working together between artists from Kosova and Serbia—something still uncommon in the art scene.

19.09.2025

On September 19, 2025, Artpolis presented the play “Revolt. She Said. Revolt Again”, directed by Zana Hoxha, at the WeToo Festival in Paris – a feminist, inclusive, and innovative festival. Before an audience of around 80 people, the performance was met with strong reactions, opening a space for dialogue and reflection.

With text by Alice Birch and performances by Olive McHugh, Tanaka Mpofu, Xixi Xiao, and Natalia May, the play offered an intense and provocative theatrical experience, exploring themes of sexuality, power, labor, and freedom. Visual elements, such as a stage filled with watermelon, added an eco-feminist dimension, connecting patriarchal oppression with the exploitation of nature.

As Gili Hoxhaj writes: “In rebellion, mere thought isn’t enough—at least not for the women of the 21st century. That’s why the show ‘Revolt. She Said. Revolt Again.’ gives voice to this need.”

This presentation in Paris was more than a performance – it was an act of solidarity that transcends national borders, creating a universal language of equality and freedom.

On September 4, 2025, the play “The Women of Troy” brought to the stage a painful yet powerful journey before the audience in Italy, as part of the Tempora Contempora Festival in Lecce. Wars, which for centuries have disfigured humanity, continue to leave deep scars on the bodies and souls of their victims. In this performance, the ancient grief of the women of Troy resonates in Gaza, Ukraine, Kosova, Somalia, and Congo—revealing that the wounds of war know neither borders nor time.

Based on Euripides’ work and reimagined through a feminist lens by directors Zana Hoxha and Maja Mitić, with a contemporary text by Shpëtim Selmani, this daring interplay allowed an audience of around 60 spectators to witness a story where women’s resilience transforms into a call for peace.

The bilingual production—performed in Albanian and Serbian—was the result of a two-year artistic co-creation that brought together artists from Kosovo and Serbia: Maja Mitić, Shpëtim Selmani, Semira Latifi, Branka Stojković, Qëndresa Kajtazi, Labinot Raci, and Aleksandar Stoimenovski.

“The Women of Troy” in Lecce was an act of remembrance and resistance, a testament that art can carry the wounds of the past and transform them into voices that call for universal justice and peace.

26, 27, 28 & 30 July 2025 / Prishtina and Novi Sad

The performance “Memories from the River” had an open presentation for the audience on July 26, 2025, in Prishtina, followed by its official premiere on July 27. A rerun took place the next day, on July 28. Then, on July 30, the river of memories flowed beyond borders, reaching the stage in Novi Sad, where it was embraced as a poetic journey between art and remembrance.

Over the course of these presentations, more than 180 audience members experienced this unique theatrical event.

If childhood is the place where our inner world takes shape, then Memories from the River was a courageous return to that place — joyful and painful at once. In this experimental performance, Zana Hoxha invited us to face what we so often try to forget: the unheard voice of the child within us.

With deeply introspective direction and a dramaturgy that interwove poetry with brutal reality, the performance placed the audience on a tender trajectory — from innocence to the violence of a society that fails to embrace “the different.” Mance — portrayed by Edon Shileku — was not just a character; he embodied all those who’ve felt small in the face of scorn, talented yet silenced, a dreamer dismissed.

Hana (Qendresa Kajtazi) was the living memory of those no longer with us, a silent bearer of pain, a witness to her inability to save her friend. In her performance, there was a kind of solidified sorrow, making the pain even more palpable.

The play began in an open space — the Fountain at the Palace of Youth — and continued to the Prison of the Ideal, a physical journey that became metaphor for an emotional one. The song “I Know I Will See You” by Minatori accompanied the audience like an unspoken hymn of hope — to see, and to be seen. Actors Elsa Belegu and Flamur Ahmeti not only enriched this collective story, but brought to life, through voice and movement, a memory that never stops speaking. Each scene was a fragment of truth many keep hidden. What set this play apart was not just its experimental structure, but the way it became a shared act of healing.

Memories from the River did not merely aim to tell a story — it offered a safe space for reflection, for feeling, for crying, for sharing. The audience was not simply a spectator. It became a fellow traveler and storyteller. Theatre here was not spectacle. It was collective therapy.

A confrontation with the self. In a society that so often lacks the time — or the will — to listen, Memories from the River became a collective act of hearing. And that very act of hearing was, in itself, a form of healing — a release from the weight of the past.

📸 Yllka Fetahaj

Media: Observerkult.com
Titulli i storjes: WHEN THE VICTIM BECOMES THE CULPABLE… A PHENOMENON THAT IS NOT ONLY FOUND IN VOJČEK, BUT ALSO IN OUR REALITY
Data: 24.02.2025
Linku: https://observerkult.com/kur-viktima-kthehet-ne-fajtor-nje-fenomen-qe-nuk-gjendet-vetem-te-vojceku-por-edhe-ne-realitetin-tone/?fbclid=IwY2xjawIvIOlleHRuA2FlbQIxMQABHUYQ134tHWydrKnlP2AML8yXktsl1dG0nX3xG_xwqDxdxJnRlJrPMPZbdA_aem__R-USuPrvAgoJdxm9PvXxA

“Vojcek,” the Man Between Fate and Freedom

By Sibel Halimi

Recently, the premiere of the play Vojcek was staged in Gjakova, directed by Zana Hoxha.

In this dramatic interpretation of human fate, the main character, Vojcek, emerges as a powerful reflection on human existence and the oppression imposed by circumstances, raising the fundamental question: Is a person free, or enslaved by fate and their past?

In Vojcek, the protagonist’s childhood is not explored directly, but the presence of a young boy on stage as the personification of his memory emphasizes the weight of the past in shaping his tragedy.

This scenic element creates a powerful link between memory and fate, deepening the understanding of the roots of Vojcek’s suffering.

Oppressed in his childhood, Vojcek reminds us of Friedrich Nietzsche’s saying, “He who fights with monsters should be careful lest he himself become a monster.”

His tragedy is not a random event, but an inevitable continuity, where he, driven by violence and injustice, destroys everything around him.

Vojcek is portrayed as a broken individual, oppressed by poverty and social injustice. He is unable to rise above his circumstances, suggesting that his life has been doomed from the start. From a psychological and philosophical perspective, his childhood can be seen as a period where he is taught submission and the lack of power to change his fate. The absence of a strong emotional foundation makes him vulnerable to exploitation, driving him towards destruction.

Thus, Vojcek’s childhood is not just a dark past but an inevitable beginning to the tragedy he lives. Through his eyes, we see an individual torn between instinct and morality, between reason and madness. His drama embodies existentialist ideas, where the person confronts the absurdity of life and the external limitations that shape their fate. He is not just a victim of misfortune, but a symbol of the inevitability of suffering that defines human existence.

The adaptation by Jack Thorne and the fantastic direction by Zana Hoxha bring this dilemma into a modern context, demonstrating that Vojcek’s challenges are not limited to a distant era but are universal.

In a society where the individual often feels insignificant against the larger social forces, Vojcek becomes a mirror of our reality, prompting us to reflect on the limits of our freedom and the weight of existence.

This performance is not just a tragic tale, but an invitation to reflect on humanity – on what destroys it and on the silent hope for a different reality.

At its core, Vojcek’s tragedy is the story of a man exploited in every way – economically, psychologically, morally, and emotionally. He is the victim of a society that uses him and discards him when he is no longer needed.

The greatest irony lies in the fact that after being destroyed by all these forms of oppression, society judges him as a monster. He is not seen as a man who has suffered, but as a criminal who must face the consequences. The victim becomes the culprit – a phenomenon that is not only found in Vojcek but also in our reality.

In a broader philosophical sense, Vojcek is not just an individual, but a symbol of all those oppressed by an unjust system. He is proof of how society can exploit a person to the point where they have nothing left to lose – and then judge them for their despair.

Is Vojcek a victim, or a reflection of the society that created him? This dilemma remains open, challenging us to reflect on collective responsibility toward oppressed individuals and on how society shapes their fate.

ObserverKult

Media: Koha.net
Titulli i storjes:“Vojcek” echoes the sound of the alienated man until his tragic end
Data: 23.02.2025
Linku: https://www.koha.net/shtojca-kulture/vojceku-le-jehonen-e-njeriut-te-tjetersuar-deri-ne-fund-tragjik?fbclid=IwY2xjawItdR9leHRuA2FlbQIxMQABHeGlTlD02y1J6kDXZNbJgkXHbdvWZQf5BGfRfVDOJhLWAC_Tels7fZjb4w_aem_7IhMPRNRvyz1V6_qLDss4A

The life of Vojcek is an endless humiliation. He is mocked, despised, and degraded by everyone. On the stage of the “Hadi Shehu” theater in Gjakova, Vojcek by Georg Büchner, directed by Zana Hoxha, is presented as a more modern version of the work, with a text adapted by English playwright Jack Thorne. There, madness, the effect of inhumane labor, alcoholism, and more coexist. The ending is tragic, and in reality, it is an alarm.

Performances of such scale aim for an effect that lasts with the audience. It attempts to achieve what theater has aimed for from its very beginning – catharsis. This is the role of Vojcek, one of the works of one of the greatest German playwrights, Georg Büchner. Under the direction of Zana Hoxha, this narrative, inspired by real events, has been staged in Gjakova, and according to the director, it resonates quite well with this city. The drama is a powerful and deeply emotional portrait of suffering and the destructive effect of injustices in society.

At the “Hadi Shehu” theater in Gjakova, Vojcek is presented as a more modern version of the play, with a text adapted by English playwright Jack Thorne. There, madness, the effect of inhumane labor, alcoholism, and more coexist.

A work that stands out as a cornerstone for German theater, the play centers on Franz Vojcek, a soldier who supplements his insufficient income by performing some of the most bizarre jobs. He even “poisons” himself by participating in human experiments.

As the curtains rise, the music starts playing with rock rhythms, performed by Kreshnik Koshi. The opening love scene reveals that one of the central themes is the main character’s love for his wife, Marian, played by actress Vlora Dervishi.

Vojcek, a role played by actor Bujar Ahmeti, quickly returns to his duties as a soldier and reveals his character as a loyal and unassuming man while talking to his closest and only friend. It is Andrew, played by actor Edi Kastrati, who is a completely opposite character to the protagonist. But his financial situation is also revealed. The struggles of the working class can be summarized as the theme of the entire drama. The story takes place in Germany.

Vojcek’s life is an endless humiliation. He is mocked, despised, and degraded by everyone, especially by his captain, played by Arbies Komoni. Parallels between the rich and the poor arise, especially when the captain’s wife, Megi, played by Aurita Agushi, visits Marian, who is tasked with distributing two thousand envelopes around the city. Above the house where they live, there is a slaughterhouse that emits a strong, unpleasant odor.

When Vojcek encounters a way to earn money, his severe financial situation is reflected in the fact that he doesn’t care at all about how it’s done or what the effects and consequences are. It is a medication test to see how the body reacts to them.

“A boy who lives under difficult conditions and loves his wife very much. He wants to change his life a little by undergoing a medical test that leads him to a different mental state,” said actor Bujar Ahmeti, who plays the role that gives the drama its title.

It has been said that in the performance, Vojcek’s kindness is exploited, and his naivety is taken advantage of.

“This is a dramatization, an adaptation of Büchner’s text where the author has made a change that highlights the character of an ordinary boy, who doesn’t have a good financial situation, who undergoes the test. The people around him completely manipulate his life, misuse his kindness, his naivety, and he gradually starts to fall into the positions written in the text, which we have executed with performance,” said actor Bujar Ahmeti.

The strict diet of the doctor, played by Altina Kusari, gradually drives him towards madness. He begins to have hallucinations. He sees himself as a child running away from his mother. The young Vojcek is played by Eden Kastrati.

Actress Aurita Agushi considers the theme of this performance to be extremely emotional.

“I have been very well received by my colleagues, they made me feel at home. The process has gone smoothly. This is certainly when you work hard. The theme is very difficult, very heavy, very emotional. There are many dramatic situations, even leading to tragedy. We say that before the premiere, we were like a time bomb, but in the end, the result you saw is the result of extraordinary work, primarily by Zana, then the actors, but also the entire team that is not seen on stage,” she expressed.

Due to his severe psychological condition, Vojçek is suddenly struck by a fear of death. He turns into a monster in relation to his wife. His temperament begins to show. He faces his past, which doesn’t seem so great. He was raised without parents. Meeting his childhood self only worsens his condition.

Actor Ahmeti stated that it was necessary to thoroughly research the material to understand the character’s state.

“It’s a bit challenging because we need to research, we need to know what kind of nervous crises, problems, and concerns he has. In collaboration with Zana, the whole team, with many suggestions and proposals, we have come to this result. I hope we did good work. I believe the audience in Gjakova will receive this show well, and I hope it will have a long life,” he said.

The protagonist receives his final blow from his closest friend, Andrew.

Actor Edi Kastrati, who plays this role, said that this character reflects the behavior of the people around us and how they influence our lives.

“Andrew is one of the characters, a close friend and the only one of Vojçek, with whom we clearly saw what happened to him, how he ruined him and how he made his life miserable. A very good character who shows us very clearly that we must be very careful with the people around us, especially in these circumstances we are living in. The circle is the only concern of people. The circle pushes us to do things, conspires against us, and arranges bad situations for us. I think we’ve managed to realize what the author wanted to say with Andrew,” he said.

The play “Vojçek” lasts two hours, and it’s not easy to keep the rhythm and avoid monotony. Kastrati considered the work process both exhausting and satisfying.

“Now we are completely relieved from an emotion, as we had many emotions, to be honest. It was an exhausting show for us, but very satisfying, especially when we see that it has been successful with the audience. We are very pleased with the result,” he said after the show.

Actor Bujar Ahmeti considers it a great job by the entire team of the play.

“We are very pleased. It was an intensive job, for me it’s a great pleasure to work in the Gjakova Theater, it’s my city, and for the second time, I’m working with Zana. I’m very happy, I believe we have brought a very good show to life,” he said.

In the play, the love between the characters is fake. Betrayal is shown both openly and subtly. A strange and intriguing element is the black plastic material that extends across part of the stage. Its role is only revealed at the end when Maria wraps herself in it as a sign of protection from Vojçek, but suffocates from it. He also kills himself with the same material.

The director of the play, Zana Hoxha, said that all these events are also a result of the traumas the protagonist has gone through.

“The play is about an unfortunate person, Vojçek, who went through traumas during his childhood, which are highlighted and magnified even more when he becomes part of a medical experiment, due to the difficult conditions that push him toward this experiment. He loses the most precious thing in his life – his wife – who ends up being killed by him, and he kills himself. A tragic end, but I think there can’t be a happy ending after this,” she said.

She revealed that rehearsals started on January 15 and that there were a total of 24 rehearsal days for the two-hour show.

“There was maximum engagement from the whole team, and I’m very happy with the result because this theater is the only one of its kind in Kosovo with these infrastructural dimensions. I know that the audience tonight was moved, I was moved as well, and we’ve managed to bring out the best we could. My concept has been realized, and what I wanted with this play has been achieved. I believe tonight the spirit of this play has also reached the audience,” said director Hoxha.

The play also includes humorous scenes between the actors, but with the same effect, they do not translate well to the audience. Hoxha said that these scenes were intentionally not exaggerated.

“At the same time, very painful things are happening in parallel, and those moments of humor are cynical, sarcastic, and we didn’t want to amplify them more because then the character might end up being even more tragic than he is. I think we’ve made a play that can freely represent Gjakova on many levels,” said the director.

The music for the play was composed by Tomor Kuçi, while the stage movements were designed by Nicoletta Bonanni from England. The set design and costumes were created by the Englishwoman Grace Rumsey.

“The collaboration has gone very well from the beginning. We designed it together as part of a conceptual project, and then Zana told me that we would indeed go ahead with this set design. It’s an honor to work in such a wonderful theater, especially since this is my first professional design,” said Grace Rumsey.

Büchner’s Vojcek is considered one of the most performed and influential dramas in German literature. According to the play’s details, the author was inspired by the true story of Johann Christian Woyzeck, a barber and soldier from Leipzig, who, in 1821, out of jealousy, murdered his partner Christiane Woost with whom he cohabited.

Büchner wrote the text for the play in 1836, but it remained unfinished due to his death from typhus in February 1837. However, he clarified his intentions for the work through a letter he left behind.

“I do not despise anyone, especially because of intellect or education, for it is not anyone’s power to prevent us from becoming either a leader or a criminal – because under the same conditions, we would all become the same, or because outward circumstances deceive us all,” the author Büchner wrote.

Such a message resonates in Vojček in Gjakova as well.çeku” i Gjakovës.

The life of Woyzeck is a painful poem of individual tragedy, an endless experience of humiliation and mistreatment that leads to disintegration and self-destruction.

Through the transformation of Georg Büchner’s play, adapted by playwright Jack Thorne, Zana Hoxha brought a contemporary and universally poignant version of this story, turning Woyzeck into a symbol of dehumanization and alienation.

On February 21, 2025, at the “Hadi Shehu” Theater in Gjakova, the performance offered a profound reflection of the dehumanized individual, where every scenic detail mirrored the torment of a man losing his grip on reality. Hoxha’s direction focused on the psychological state of the protagonist, illustrating how, through an endless cycle of violence, he loses not only his identity but also his ability to act as a free individual.

Woyzeck’s fate is predetermined: the violence and trauma he endured from childhood lead him toward a tragic end. He becomes an object of experiments and a voiceless soldier. Woyzeck is a victim of a world that uses him but refuses to accept him as an equal.

In the stage design conceived by Grace Rumsey, everything is shrouded in an invisible darkness. Cold colors, plastic materials, and objects create a rigid atmosphere, symbolizing the imprisonment of the individual. This is a place where freedom does not exist, and every step is trapped in the gears of a system that excludes a person from any possibility of living as a complete individual.

Despite the tragedy it portrays, the performance is not just a portrait of Woyzeck but also an alarming call to society. It reflects the consequences of what can happen when humanity loses its connection to humaneness and fundamental rights.

“Woyzeck” left a deep resonance with the audience, raising important questions about social injustices, violence, the alienation of the individual, and, above all, the importance of mental health and the collective responsibility we bear as a society.

Around 580 people in the audience had the opportunity to attend the premiere of “Wojzeck”.

This performance is a co-production of the “Hadi Shehu” Theater and Artpolis supported by the Municipality of Gjakova and UNFPA.

 Rilind Beqa