Theatre

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

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

On December 27, 2024, in the premises of Hani i 2 Robertëve in Prishtina, a powerful voice was raised against silence and taboos.

“The Vagina Monologues,” a stage reading based on Eve Ensler’s iconic text and directed by Zana Hoxha, brought to the spotlight stories of women who challenge censorship and misinformation in a society where sex education continues to be a taboo topic.

Through the extraordinary performances of actresses Ilire Vinca, Sheqerie Buqaj, Qendresa Kajtazi, Xhejlane Tërbunja, Zana Berisha, and Blerta Gubetini, the audience was immersed in bold narratives that transcended marginalization and stigma. Each monologue was an act of emancipation, a call to reflect on bodily freedom and the transformative power of words.

This event, organized by Artpolis with the support of UNFPA, was more than just a cultural occasion. It was an effort to create a space where the unspoken could be heard and where sexual education was addressed as a fundamental issue for a healthy society. In the discussion that followed, moderated by director Zana Hoxha and featuring panelists Mirishahe Syla and Adelina Berisha, the challenges faced by women in Kosovo were thoroughly articulated, especially against the backdrop of rising anti-feminist movements. The panelists highlighted the danger of regressive norms re-emerging and underscored the importance of coordinated and outspoken activism.

The stage reading offered a profound reflection on society’s relationship with the female body—not merely as a physical entity but as a symbol of resistance and independence. In an era where women’s bodies continue to be a battleground for ideological and political conflicts, this text reminds us that the power of words is a vital tool for liberation. The Vagina Monologues emerged as a delicate yet powerful portrayal of pain and triumph, prompting deep introspection about our roles in the pursuit of equality and justice.

At its core, this event was an act of solidarity—a reminder that stigma and silence can be shattered. The Vagina Monologues served as a transformative experience, a powerful testament that speaking out is an act of courage and freedom.

 Selvianë Hysenaj

On November 5, 2024, the premiere of Women of Troy took place at Dodona Theatre in Prishtina, followed by a rerun on November 6. This powerful theatrical production, co-directed by Zana Hoxha and Maja Mitić, brought to the stage a feminist reinterpretation of Euripides’ tragedy, shedding light on the enduring trauma of war and the resilience of women who confront its horrors.

Following its debut in Prishtina, Women of Troy traveled to Belgrade, where it was performed on November 22 and 23, 2024, at the Center for Cultural Decontamination (CZKD). Over four performances, more than 370 audience members experienced a production that turned the stage into a space for reflection, mourning, and resistance. In a world still witnessing the devastation in Gaza and Ukraine, the production resonated deeply, serving as both a mirror to history and a call for peace.

Through a contemporary directorial vision, the play seamlessly weaves narratives from ancient Troy to modern conflict zones—the Balkans in the 1990s, Somalia, and beyond. It reminds us that war does not end with the silence of weapons; its wounds linger for generations. Women of Troy amplifies the voices of women who, across history, have endured displacement, loss, and oppression, yet continue to fight for dignity and justice.

The figures of Hecuba, Cassandra, and Andromache transcend the realm of ancient tragedy, embodying the suffering of women today. They are mothers mourning their children, daughters stripped of their future, and wives forced into exile. In war, they are seen not as survivors but as spoils—yet their voices, echoing across centuries, demand to be heard.

Performed in both Albanian and Serbian, with English subtitles, the cast featured Maja Mitić, Shpëtim Selmani, Semira Latifi, Branka Stojković, Qëndresa Kajtazi, Labinot Raci, and Aleksandar Stoimenovski.

A collaboration between Artpolis and the Helsinki Committee for Human Rights in Serbia, Women of Troy was made possible with the support of the European Union. However, the content of the performance remains solely the responsibility of Artpolis and does not necessarily reflect the views of the European Union.

More than a theatre performance, Women of Troy stands as a reminder, a reckoning, and a plea—a testament to the endurance of the human spirit in the face of war’s unrelenting cruelty.

14.06.2022

“The Haunted Land”, is a performance based on Shqipe Malushi’s poetry, evoking our collective memory about the absence of peace and confrontation with the war, that has been constant for Kosovar society throughout the centuries, and in particular its impact on our inter-generational traumas.

Presented in a unique experimental format, the performance by the director Zana Hoxha creates a multidisciplinary synergy through Malushi’s imaginative poems, Robert Nuha’s contemporary theatrical choreography, and dramaturgy by Shpëtim Selmani, including experimental music with authentic singing elements, and video projections that create a new narrative based on our collective memory.

Various poetic fragments and texts filled with pain, struggle, hope, and strength, appear as an image of our collective resilience, and are interpreted by Artpolis Artistic Resident Troupe, joined by music and dance artists in this project.

Through chronological acts “The Haunted Land” describes one of the most important stages of Kosovars towards what they had dreamed for centuries, freedom.

But is it enough to be free? Or is there anything beyond it?

“The Haunted Land” is a photo album that should never be covered by dust or forgotten in a drawer.

Author: Shqipe Malushi

Director: Zana Hoxha

Dramaturgy: Shpëtim Selmani

Choreographer: Robert Nuha

Actors/Actresses: Donikë Ahmeti, Kushtrim Qerimi, Kaltrinë Zeneli, Edlir Gashi, Qendresa Kajtazi, Mikel Markaj, Zhaneta Xhemajli

Soloists: Donika Rushiti, Etrit Nura, Urta Haziraj, Shaban Behramaj

Dancers: Altina Binaku, Qendrim Makolli, Erza Grajqevci, Patriot Osmani

Costumes: Arbnor Brahimi

Scene video projections: Florian Canga

Assistant and organizer : Elira Lluka

Scenography: Arben Shala

Tonist: Arben Aliu

Lighting Technicians: Sherif Sahiti and Mursel Bekteshi

Stage masters: Aziz Maloku, Rrahman Mehmeti

Make-up artists: Myrvete Tahiri, Flora Hasani

📸 Rilind Beqa

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