Euripides transfigured and political Hecuba in the most empty hall of "Migen"!

The last attempt of political use of a show and a scene in Shkodër was "Hekuba"! Of course I didn't go. But of course I have seen many parts of it, because nowadays almost everything is on mobile! I didn't just see the hall as usual more empty! Not even a photo of the hall, when it's empty, they don't appear on Migjeni theater's Facebook page! Yes, when they don't fill the hall, they don't show pictures of the empty hall! I didn't go because I knew that it will be a show used and raised politically at election time. And that's why the hall remains empty because a large part of the public will not waste time with the same lament, the same actor(s) and the same small, small troupe and why there are normal actors in it. Shkodra has remained the last scene of political use. The last one that removed the party meetings and the last one that will remove the dramas created for it to collide politically with the political opponent in democracy as once the dramas of real socialism with the ideological opponent in dictatorship. The last theatrical scene I believe will already remove the darkness from myself, the use of a dark way of looking at life today, with so frequent reminders to the annoyance of yesterday of course ideological and often criminal. A scene that has forgotten to fill the hall with the interest of the day in art and drama or comedy! The interest of color and vibrancy. With the predominance of darkness and lamentation from a past that is taking the place of today's problematic created by those who want to obscure with any scenes, those who are addressed only to a narrow audience and those who are continuing to make politics with drama and performing arts. That they are repeating themselves as an actor and as beneficiaries of all funds politically supported by the Municipality institution until today, almost like yesterday ideologically! This nonsense doesn't work anymore. This term is not suitable for political, often regional and sometimes religious use. The Migjeni Theater belongs to all Shkodran residents and when it is open, it fills the hall. Even with an individual who sings, but he sings to the people of Shkodran! Yes, when there won't be these deviations with separation and a dark scene, Migjeni is full and the authors of Fb bring out the plate or the hall full of people. For all the dramas with millions of funds, a "dark" individual with a dark political opinion, the hall has been empty and there are no photos of her on FB! This is how Euripides' Hecuba was used. They transfigured the Euripidean thought as an Albanian play and drama. In a "dark" creative but politically used fantasy. It was seen from the speech at the end of the director actress, how politically used in the election it was! Written in or around 424 BC, Hecuba is one of several Euripides plays that deal with the immediate aftermath of the Trojan War. Hecuba, until recently the queen of Troy and now a Greek slave, is being taken to her new homeland by her captors. However, due to the ghost of Achilles appearing over his tomb and demanding to be satisfied with the sacrifice, the Greek navy is forced to make a stop in the land of Thrace ruled by Polymestor. There, Hecuba's youngest son, Polydorus, had been sent for safety during the Trojan War, but, unknown to his mother, he was killed by Polymestor as soon as the king of Thrace received news of the fall of Troy. It is the ghost of Polidori who shares a large part of this story in the play's prologue. Not long after he disappears, a chorus of captive Trojan women informs Hecuba that the life of her youngest daughter, Polyxena, is in grave danger: the Greeks intend to sacrifice her as an offering to the dead Achilles, as requested by the ghost his. Hecuba begs Odysseus to spare his daughter's life, but Odysseus is deaf to her pleas. Polyxena interjects to say, surprisingly, that she does not need anyone to fight for her life, because she would rather die a free woman than live the life of a slave. Polyxena's courageous death is recounted in a long monologue by Talthybius, Agamemnon's messenger. He has hardly finished praising her for her noble conduct when Polidorus' dead body is discovered by a servant, floating in the sea. Out of her grief-stricken mind, Hecuba begs Agamemnon to allow her to avenge her son's death. Agamemnon neither accepts, nor refuses, and soon Polymestor and his two sons are lured into Hecuba's tent. There, Polymestor's sons are killed and he himself is blinded by Hecuba. A trial ensues with Agamemnon presiding as judge and ruling in Hecuba's favor: her act, he says, was not only an act of revenge but also an act of justice. Enraged, Polymestor curses Agamemnon and Hecuba, predicting the imminent death of both. Okay? And this was due to a habit of fantastic transfiguration from Euripides to the scenarios of Albanians politically not in peace and then political use against a political opponent who make Euripides and never to be voted in Shkodra of Hekuba as a Trojan already captured. A prophylactic soup in retro cultural political folklore that does politics, but conceived in such an ugly and stupidly politically used way that even the 80 tickets in the 600 hall I'm impressed with how they were sold. But Hekuba already closed the cycle of using Miggen politically! She wanted to stop, but in fact, she completely opened the door to the political non-use of Migjeni's stage in Shkodër. The public responded in fact both in the empty hall and outside it in the middle of May. Thank you Hecuba!