A fragment out from the truth

Looking for the beginnings of choreography in our country, I came across a book that had long been “hiding” in my small library. I opened it and realized that what I was looking for was hidden there. The distinguished Ethno choreographer Nexhat Agolli in his book “Dialogue with Artists” had laid out portraits of a number of prominent choreographers, dancers, ballerinas of our choreography since 1999, as well as a striking historical description of the first choreographic struggling in our country.

Nestor Kraja

One usual day I went to see the” Archaeological Research Center “(today it is called the Institute of Cultural Monuments) and the former” Ideal “cinema (which does not exist today) on “Rruga e Elbasanit”.

In these two premises the students Panajot Kanaçi, Mrs. Trigonero (Italian of Calabrian origin), Julie Prifti and Lola Gjoka used to teach the first folk dance lessons. I also went to “Shtëpia e Pionerit” (Musa Juka ex – house at Zenel Baboci street) that I found closed. Two groups of dancers began to take place the rehearsals under the direction of Panajot Kanaçi. From here in the year of 1950 i went in the yard of “Teatri Kombëtar” where in co-neighborhood was founded the “Albanian Philharmonic”.

This was the first artistic institution in our country, where I could see the symphony orchestra, choir and, subsequently, the ballet room (converted into a warehouse). I noticed her dressing gowns, with those little hinges.

I remembered the long corridor between them, with that tin stove where during the rehearsal break we used to get warm. In one of these cabins Skender daily used to distribute us milk (it should be said that the government had provided us with supplemental food: half a kg of milk per day, 500 grams of butter, 700 grams of meat per month and heavy portion of bread; with that food we used to face all that exhaustion) I didn’t know … it was as if I heard inside the dancers’ voices … as if I saw them come out of that little gate, as it used to happen when the rehearsals were over.

Very often, after the frequent shows we used to perform, late at night we went to accompany the girls’ homes (sometimes their parents were coming to take them too)…. Eh, what I didn’t remember…. I went even further beyond the auditorium, in that small place where once they used to work, Isufi, Ali and Muharremi. It was where the kind shoemakers used to prepare shoes for our rehearsals and Pointe for the girls…. Turning around I saw the choir room, it was also locked. In this hall for many years Konstandin Trako used to conduct and, a little further, in the hall of Symphony it was where Mustafa Krantja used to conduct.  Folk singers and orchestras worked in these halls and elsewhere.

Nexhat Agolli

Excited and surprised how I could have read this book before, I decided to publish a page describing exactly these beginnings.

I saw that I could continue to copy the whole book for the interest he aroused, for the truth of the description very exciting and sincere, but let the reader say his thoughts after reading this rare book.

Nestor Kraja

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1 Response

  1. Në redaksinë tonë, si reflektim për shkrimin me titull “Një fragment nga e vërteta” ka ardhur ky reagim i mrekullueshëm nga e nderuara znj. Takuina Truja, Presidente nderi e EPTA-Albania:

    Jam prekur shumë Nestor!
    Më rikujtoi debutimin tim kur isha 6 vjeç në disa inskenime si “Dasma Shqipetare” e baletet e para si ‘Shatrivani Bakshisarait’ etj. ku së bashku me Ermir Krantjen dhe Zhani Cikon ishim thjesht figurantë.
    Por në Operan e parë “Rsallka” të Dargomirskit do t” isha nj” nga personazhet fëmijë në rolin e Rusallockës, vajza e Rusallkës që interpretohej nga mamaja, sopranoja Jorgjia Truja.
    Për këtë arsye si femijë, vërtitesha jo vetëm në oborrin , platenë e llozhat e teatrit por dhe në dhomat e balerinave.
    Atë kohë isha dashuruar me baletin, dhe për faktin që pjesa ku debutoja ishte në aktet e fundit, rrija e lumturuar në dhomën e grimit të balerinave që ishte në katin e tretë.
    Gjatë zhvillimit të operas një rol të rëndësishëm luante kryeinspektori Dede Nika, i cili përveç detyrave të ndrimit të mizansenës ndër aktet, ish personi që më jepte shenjën për të dalë në skenë. Në skenë komunikoja me babain që ishte Knjazi, kryesisht interpretohej nga Zihni Berati, por dhe nga Maliq Heri, dhe në aktin e fundit me mamanë në skenën që ishte nën lumin Dnjepër ku mamaja ishte mbretëresha e rusallkave, ( zanave te ujit).
    Kujtoj sopranon Gjyzepina Kosturi që ishte në dhomë me Jorgjin, dhe më kujtohet një natë i kishin sjellë fustanin që do vishte gjysëm të lagur, ish lagur nga shiu…….., dhe këto ndodhnin.
    Në përfundim të operas më takonte të qëndroja shumë afër orkestrës, ku shihja dirigjentin Mustafa Krantja dhe violinistet. Akoma kujtoj buzëqeshjen e tyre jo vetëm kur isha në skenë, por edhe kur takoheshim nëpër koridoret e Teatrit ku sa më shihnin me humor imitonin fjalët që thesha në skenë ; ‘ Isha te gjyshi në fshat…..’
    Sot, ruaj akoma nostalgjinë për atë periudhë që më ka lënë aq shumë mbresa.

    Nestor, mirë do të bësh të vazhdosh me shkrimin që ke filluar.
    Përzemërsisht, Takuina

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