Strange news from TOB !!!

On social networks I encountered a strange announcement.

The Opera and Ballet Theater opens a competition for the new logo of this institution. It seems on the surface that things are going well, but when you start to think on what the motive is for this theater, which has been in under reconstruction for some years now, it almost does not work at all for 1,845,000 (ALL)  to spend on the new logo. Wouldn’t it be better to pay for a new national music pieces with this amount of money?

Research leads us to conclude that this Theater has the lowest frequency of n performances in Europe, as well as in the world. Contacts with the world choreography personality lead us to learn that the ballet corp is in a poor condition, with the exception of a few women who are still working and keep themselves training. The contacts teach us that the Theater has no instrumental ensemble in residence, while the ensembles created by instrumentalists who are not accepted by the Opera Orchestra competition and presented at the Ensemble Festival in Elbasan are wonderful. Our research leads us to the conclusion that the Institution does not yet have a schedule for 2020, while analogue theaters around the world have even longer programmed schedules.

You can only smile while reading: “Though without their Theater, the corp of the National Opera and Ballet Theater donates great emotions to the art-loving attendees. If there was anyone who thought that TKOB’s spectators would diminish after the closure of its building, today the truth is different. TKOB director Zana Cela says the number of spectators has tripled since 2016. It has also increased the number of premiere shows. In the last year alone, 43 shows have been staged.

It is unknown how the TOB director measures the public’s emotions, maybe it is  into her personal abilities. As for the addition of the attendees, she probably counted the people passing in the main streets of Tirana when there was a concert in the main . Those kinds of concerts, which not only do not respect the tradition of this institution but also represent the taste of an almost bottom-up level of society. In the meantime, it is in the duty of the institutions to raise the tastes of the public. Compare it a bit with the world-class squares concerts. Why we do not even have such concerts?

Maybe the director has no idea what they call “premiere shows”!

On the other hand, the paradox emerges when the Opera Web site opens with the call to donate “On Line” funds that goes to earthquake victims. As it is in the task of the Opera Theater is to raise funds in case of a disaster while the Ministry website does not make such requests public. Of course, the over-politicized and humble attitude of the members of the directorate to cover up its inability is clearly read.

Lastly, in the request for a tender or a competition, the request for joining the TOB logo with the People’s Ensemble comes to mind. Even in the time of monism they were not together in the Logo, and no longer do the relations with the world tell us that there is no such example, practice or conception. The tasks of these institutions are different: One, to promote the national values ​​of Opera and Ballet as a genuine professional creativity of cultural levels comparable to the world; in public as an emblem of our popular culture.

In my opinion, these institutions may be in one building, may also be run by a director who has the capacity to direct them, but may not have the same common logo.

But what remained the motive of this bid? This always remains a puzzle and as a connecting way that bring together all the methods of leadership in our artistic institutions.

Nestor Kraja

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