"Burrnesha", "Five seasons of the enemy of the people" and "The Return of Karl May" works by the author Jeton Neziraj on the stage of the National Experimental Theater

Three plays by the playwright Jeton Neziraj will be shown in Tirana. In the framework of the collaboration that was announced before, the Multimedia Center presents three theater performances at the National Experimental Theater "Kujtim Spahivoli" at "ArTurbina" in Tirana. Playwright Jeton Neziraj is a well-known name, where his works have not been lacking in various evaluations before. Kosovar playwright Jeton Neziraj is also the director of the Multimedia Center in Pristina, Kosovo. On the stage of the National Experimental Theatre, the theatrical works, which will be performed by artists from Kosovo, will be for three evenings in a row. On the evening of March 31, the work "Burrnesha" by Jeton Neziraj and directed by Erson Zymberi will be on stage. The actors in the roles are Semira Latifi, Tringa Hasani and Kushtrim Qerimi. On the evening of April 1, the play "The Five Seasons of the Enemy of the People" by Neziraj and directed by Blerta Neziraj comes to the stage of the National Experimental Theatre. The actors in the roles are Armend Smajli, Shpëtim Selmani, Egzona Ademi, Afrim Muçaj, Kushtrim Qerimi, Verona Koxha. Musicians Arbër Salihu, Granit Havolli and Tomor Kuçi. On the 2nd of the coming month, "The Return of Karl May" will be shown on stage. Written by Jeton Neziraj, directed by Blerta Neziraj and the actors in the roles are Adrian Morina, Edona Reshitaj, Armend Smajli, Shpëtim Selmani and Ylber Bardhi. On the 2nd of the coming month, "The Return of Karl May" will be shown on stage. Written by Jeton Neziraj, directed by Blerta Neziraj and the actors in the roles are Adrian Morina, Edona Reshitaj, Armend Smajli, Shpëtim Selmani and Ylber Bardhi. On the 2nd of the coming month, "The Return of Karl May" will be shown on stage. Written by Jeton Neziraj, directed by Blerta Neziraj and the actors in the roles are Adrian Morina, Edona Reshitaj, Armend Smajli, Shpëtim Selmani and Ylber Bardhi.

The three theatrical works

The drama "Burrnesha" was staged for the first time at the Schlachthaus Theater in Bern, Switzerland in May 2018. The theatrical work "Burrnesha" talks about the characteristics of the tradition of the adaptation of masculine features by the Albanian girls of the Highlands during the past centuries. In the material of the play "The Five Seasons of the Enemy of the People" it is shown that it talks about "the hero who is compromised by the majority" and about "the responsibility of the majority, as the enemy of truth and freedom" (Ibsen, through Stockmann). "But this show also tells us about the hypocrisy of the UN peace missions, which, in the name of political stability, in the name of peace, development and reconstruction, turn a blind eye to Dr. Stockman, and therefore, become participants in their murder", it is said about the crime. The play "The Return of Karl May" confronts the public with the almost demonizing approach of Western Europe to the East, its supposed cultural, political and intellectual superiority to the East, which Aleksandar Hemon says has deep roots in colonialism and racism. In the material about the show, it is said that it scans current Europe, its supposed cultural and civilizational values, the democracy proclaimed as "sacred", and which, in the Babel of the EU's bureaucratic letters, comes to us in the version of the race music Eurovision, i.e. as a Europe of love, harmony, splendor and diversity, but which in essence, and in reality, is also an arrogant, Eurocentric, even racist Europe. It is a Europe of splendor from the outside, but from the inside it is seething with prejudices. its supposed cultural, political and intellectual superiority to the East, which Aleksandar Hemon says has deep roots in colonialism and racism. In the material about the show, it is said that it scans current Europe, its supposed cultural and civilizational values, the democracy proclaimed as "sacred", and which, in the Babel of the EU's bureaucratic letters, comes to us in the version of the race music Eurovision, i.e. as a Europe of love, harmony, splendor and diversity, but which in essence, and in reality, is also an arrogant, Eurocentric, even racist Europe. It is a Europe of splendor from the outside, but from the inside it is seething with prejudices. its supposed cultural, political and intellectual superiority to the East, which Aleksandar Hemon says has deep roots in colonialism and racism. In the material about the show, it is said that it scans current Europe, its supposed cultural and civilizational values, the democracy proclaimed as "sacred", and which, in the Babel of the EU's bureaucratic letters, comes to us in the version of the race music Eurovision, i.e. as a Europe of love, harmony, splendor and diversity, but which in essence, and in reality, is also an arrogant, Eurocentric, even racist Europe. It is a Europe of splendor from the outside, but from the inside it is seething with prejudices. In the material about the show, it is said that it scans current Europe, its supposed cultural and civilizational values, the democracy proclaimed as "sacred", and which, in the Babel of the EU's bureaucratic letters, comes to us in the version of the race music Eurovision, i.e. as a Europe of love, harmony, splendor and diversity, but which in essence, and in reality, is also an arrogant, Eurocentric, even racist Europe. It is a Europe of splendor from the outside, but from the inside it is seething with prejudices. In the material about the show, it is said that it scans current Europe, its supposed cultural and civilizational values, the democracy proclaimed as "sacred", and which, in the Babel of the EU's bureaucratic letters, comes to us in the version of the race music Eurovision, i.e. as a Europe of love, harmony, splendor and diversity, but which in essence, and in reality, is also an arrogant, Eurocentric, even racist Europe. It is a Europe of splendor from the outside, but from the inside it is seething with prejudices. of the splendor of diversity, but that in essence, and in reality, it is also an arrogant, Eurocentric, even racist Europe. It is a Europe of splendor from the outside, but from the inside it is seething with prejudices. of the splendor of diversity, but that in essence, and in reality, it is also an arrogant, Eurocentric, even racist Europe. It is a Europe of splendor from the outside, but from the inside it is seething with prejudices.