Sokol Plakolli

KARRIGIA E NXEHT
(GJYKIMI I BOTS S PRTEJME)

SHKABAT 2015
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Drama e absurdit Karrigia e nxeht e autorit

Sokol Plakolli, sht vn n sken n Teatrin
Kombtar t Kosovs n sezonin 2014 - 2015
Premiera: 10 Shkurt 2015
Ekipi i shfaqjes:
Regjia :Sokol Plakolli
Aktor:
Enver Petrovci Albina Muaj Osmani
Konsultant : Nebi Islami
Asisstent regjie : Leonora Rugova Ramadani
Efektet Muzikore : Hekuran Krasniqi
Kostumografia: Nora Qerreti
Skenografia : Arjeta Miftari
Ispicient : Mursel Bekteshi
Mjeshtr ndriimi: Asllan Hyseni
Maska : Eldo Disha
Teknike skenografie : Ekrem Xhaka
Ballina : Alban Ramadani
Kori i nnave:
Donika Rushiti
Ardita Uka
Art Mazreku
Qndresa Loki
Vlora Dervishi
Zhaneta Xhemajli
Adelina Zekolli
Donika Ahmeti
Adelinna Halitjaha

Folsja : Melisa Demiri

Prktheu n gjuhn angleze: Daut Ibrahimi
Prktheu n gjuhn boshnjake: Emsid Ameti
Lektura: Daut Ibrahimi
Korrektoi : Florent Kurtalani
Botues: SHKABAT

"KARRIGIA E NXEHT" - Shfaqje e ndaluar

Gjykimit t bots s prtejme nuk mund t'i iket.
Njeriu sht peng i veprave t tij. Mos e humbni prjetsin,
duke u dhn pas luksit, q ofron jeta e shkurtr e ksaj bote.
Mos e keqprdorni pozitn, dhe at q u sht ln n
dispozicion, sepse kurdoher do t jepni llogari. Mos e
madhroni fronin. Mos harroni Zotin, sepse do bheni rob i
pasioneve dhe epsheve tuaja. Jan disa nga mesazhet, q bart
kjo shfaqje.
Me realizimin premiers s shfaqjes Karrigia e nxeht
(Gjykimi i bots s prtejme), thyhen tabut, se teatri merret
me t tashmen! Kjo u arrit prmes shfaqjes Karrigia e nxeht
ku diktatori, n pamundsi q t gjykohet n kt bot,
gjykohet n botn e prtejme, n karrigen e art, e cila her
pas here, shndrrohet n karrige t zjarrt. Ksisoj, kjo shfaqje
konsiderohet, si nj ndr kaprcimet m t mdha teatrore, t
realizuara n Kosov.
"Frymzimi pr t shkruar kt dram buron nga
librat e shenjt, dhe vije si rezultat i nj frymzimi hyjnor, i
grshetuar me at profesional. Pa prjashtuar, ndikimin e
katrahurave q ka kaluar kombi im ndr shekuj". Ka
deklaruar autori.
Padrejtsia e par ndaj ksaj vepre artistike,u b n
vitin 2010, kur u prjashtua nga konkursi, para se t kaloj te
komisioni i caktuar, pr t vlersuar dramat autoriale, pr
konkursin "Katerina Josipi" n kuadr t Teatrit Kombtar t
Kosovs!
Pas pes vitesh, m 10 shkurt t vitit 2015, shfaqja u
dha premier n Teatrin Kombtar t Kosovs. Pati nj
repriz, dhe premier t dyt me 17 shkurt, n teatrin e qytetit
t Prizrenit. Nj muaj pas premiers, shfaqja n mnyr
arbitrare, u pezullua nga repertori i Teatrit Kombtar t
Kosovs.

Me rastin e premiers, autori dhe regjisori i ksaj

vepre deklaroi: I ftoj armiqt tan t prbetuar, q nprmes
artit, pra me shfaqjen "Karrigia e nxeht" (q trajton gjykimin
e diktatorit Sllobodan Millosheviq n ferr nga nnat me n
krye nnn kosovare), t fillojm prmirsimin e mundshm,
t marrdhnieve diplomatike ndrkulturore, n mes shtetit t
Kosovs dhe mbetjeve serbo-sllave q jetojn t shprndara
npr trojet ilirike. Kjo deklarat, si duket, i shqetsoi
strukturat paralele t UDB-s, t instaluara n krye t TKKs.T cilt n bashkpunim me Beogradin, po hartonin planet
e tyre antikombtare, pr shkatrrimin e drams kombtare
shqipe, dhe kthimin e drams serbe n TKK.
Karrigia e nxeht, ishte shfaqja me tem adekuate,
nprmes s cils legalisht dhe n mnyr institucionale, do t
bhej hapi i par, drejt prmirsimit t mundshm, t
marrdhnieve ndrkulturore, n mes shtetit t Kosovs, dhe
shtetit t Serbis. Nj muaj pas premiers s shfaqjes, kryetari
i sapo emruar n kshillin e TKK-s. Nga pozita e
udhheqsit t kshillit drejtues t teatrit, dha nj deklarat pr
media: "Shfaqja "Karrigia e nxeht" nuk i plotson kriteret
minimale, artistike, pr t qen pjes e repertorit t TKK-s.
Andaj kshilli i TKK-s ka vendosur unanimisht, q kt
shfaqje ta pezulloj, nga repertori i teatrit. Ndrsa regjisorit
dhe autorit t shfaqjes t' i ndalohet hyrja n teatr".
N historin e Teatrit Kombtar t Kosovs, nuk ka
ndodhur, q nj shfaqje t largohet nga repertori, pasi t jet
dhn premier. Po ashtu, sht hera e par q nj regjisori t
teatrit, t' i ndalohet hyrja n teatr. M von u vrtetua, se
asnj nga antart e kshillit t TKK-s nuk e kishin par
shfaqjen. Dhe se kto dy vendime, ishin vendime arbitrare, t
udhheqsit t kshillit i cili ushtronte funksione paralele.
Prpos pozits udhheqse n kshillin e TKK-s, i njjti
person, ishte angazhuar q t realizoj, prmirsimin e
marrdhnieve ndrkulturore, Kosov-Serbi. Andaj Karrigia e
nxeht, ishte penges n realizimin e marrveshjeve t tij
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djallzore, antikombtare. Pra, tematika dhe destinacioni i

shfaqjes Karrigia e nxeht, do t ishte penges, pr realizimin
e shfaqjes me tematik dashurie,Romeo e Zhulieta.E cila nuk
u realizuasi bashkpunim, n mes Kosovs dhe Serbis si dy
shtete.Por, si bashkpunim, n mes Serbis dhe Prishtins, n
kuadr t Serbis. N pllakatin e ksaj shfaqje, u vendos
vetm stema e Republiks s Serbis e jo edhe ajo e
Republiks s Kosovs. M 15 mars e njjta shfaqje, erdhi
premier, n Teatrin Kombtar t Kosovs. N po kt dit, u
arrestua, autori dhe regjisori i shfaqjes Karrigia e nxeht, me
rast edhe u demolua instalacioni Kundr thundrs serbe n
Teatrin Kombtar t Kosovs. Me rastin e arrestimit, u
pamundsua realizimi i performancs protest Gjurmt e
Gjakut. Arrestimi i artistit kosovar, para Teatrit Kombtar t
Kosovs, ndodhi nj or para fillimit t shfaqjes Romeo e
Zhulieta . Ky arrestim, u realizua me krkesn e Ambasads
Serbe n Kosov, dhe me insistimin e vazhdueshm, t po atij
individi i cili n mnyr arbitrare, e kishte larguar nga
repertori shfaqjen Karrigia e nxeht. Dhe ishte vn n krye t
misionit, pr t finalizuar marrdhniet ndrkulturore, n mes
Serbis dhe Prishtins, n kuadr t Serbis.
Prderisa shfaqja Karrigia e nxeht, vazhdon t
mbahet pezull, n vazhdn e bashkpunimeve t sajuara
Serbi-Prishtin, u realizua edhe shfaqja e dyt, n t ciln
fyhen dhe denigrohen rnd, simbolet tona kombtare.
Shfaqja u soll premier, edhe n Teatrin Kombtar t
Kosovs.
Tashm u
vrtetua se "bashkpunimet
ndrkulturore" jan kryekput politike, dhe si t tilla, jan
produkt i strukturave paralele t Beogradit, t instaluara
dhunshm n institucionet e Kosovs. M von, dy aktor
kosovar dhan dorheqje nga "shfaqja e pajtimit" me tematik
dashurie. Tashm t gjith e kuptuan, se krejt kjo histori ishte
nj skenar i prgatitur nga Akademia Serbe, i realizuar, nga
bashkpuntort e tyre shqipfols. Kto bashkpunime, kinse
ndrkulturore, jan nj humbje e madhe pr Kosovn. Dhe
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fitore e madhe pr Serbin. Nj pajtim i till shpirtror, i

rrejshm. I realizuar nga disa individ n bashkpunim me
Beogradin, pr qllime private, bien n kurriz t Kosovs. Ky
lloj pajtimi i rrejshm, Serbin e liron nga prgjegjsia, q
ajo ka ndaj 1655 t pagjeturve, t cilt akoma po i mban peng.
Ndaj 20 mij t dhunuarave, pr t cilat serbt akoma,t
paktn, nuk kan krkuar falje publike. Ndaj faktit q Serbia
akoma nuk i ka dhn prgjegjsi shtetit t Kosovs, pr
trashgimin kulturore t plakitur gjat lufts, thesarit t
plakitur dhe shum e shum faje t tjera.
Shfaqja Karrigia e nxeht, po vazhdon t mbahet
pezull, si pasoj e uzurpimit t teatrit dhe institucioneve t
Republiks s Kosovs, nga strukturat paralele t UDB-s t
cilat e kan paralizuar, jetn kulturore dhe institucionale t
vendit.
N Kosovn e pas lufts sht br trend, q t realizohen
vepra "artistike" prmes s cilave, kritikohen deri n fyerje, doket,
traditat dhe zakonet e popullit ton t lasht, duke i pasqyruar kshtu
virtytet tona si vese, zakone arkaike t tejkaluara, q tashm jan
jasht mods. Si n film ashtu edhe n teatr, zakonisht u nxorren n
pah dukurit negative t shoqris kosovare pa kursyer as luftn
heroike lirimtare e as simbolet dhe traditat tona unike. Krejt kjo n
emr t "Artit" dhe asaj q quhet "trendi i kohs", apo pr t'iu
vardisur krkesave t qarqeve t caktuara, pr qllime t caktuara!?
Fundja, e rndsishme sht se para opinionit, Kosova u prezentua si
vend i errt. Ndrsa kosovart si shoqri plot vese, dhe q ln
shum pr t dshiruar. Arti sht mision i shenjt, kjo sht
prdhosje e misionit!

FABULA: Karrigia e nxeht (Gjykimi i bots s

prtejme), sht dram e absurdit e grshetuar me realen, e
cila trajton figurn e diktatorit Sllobodan Millosheviq. Kjo
vepr, vjen si kundrprgjigjeje, ndaj diktatorve dhe
lakmueseve e keqprdoruesve t fronit, n gjith botn.Si
kundrprgjigje ndaj faktit, q shpesh viktima, vihet n
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bankn e t akuzuarit. Ndrsa ai q viktimizon, amnistohet.

Nj rast i till, sht mjaft evident edhe n Kosov, n luftn e
fundit, me gjyqet e sajuara pr qllime t caktuara politike.
Megjithat, kjo dram nuk ka karakter politik. Por, sht
pasqyrim real i historis. Si e till, trajton njerzoren duke e
vn diktatorin prball nns, si figur unike, e cili bart
mesazhe paqeje dhe dashurie. "Po e lndove nj nn ke
lnduar nnat e gjith bots".
N ballafaqim me figurat m eminente botrore,
diktatori tallet, prqesh dhe ironizon. Sfida fillon, kur nna
plak, rrfen prjetimet e saj. Tentativa e diktatorit pr t
vrar nnn kosovare, e ndjell ardhjen e Nns Vdekje, e cila
sjell bashk me vdekjen, edhe mundsin e pendimit pr
diktatorin. Tentativa e diktatorit pr t vrar nnn vdekje,
sjell aktin e pashmangshm t vdekjes. Akt i cili bart
ngjarjen, nga bota reale, n botn e prtejme, ku edhe fillon
llogaridhnia,gjykimi i bots s prtejme.
Ballafaqimi i par i diktatorit n botn e prtejme,
sht me nnn biologjike e cila teksa rrfen pr t kaluarn,
nxjerr n pah, realitetin fatkeq, t fshehur n grmadhat e nj
shtetit t shtirur. Ajo, tregon se si kngtare me nam, ka
zbavitur oficert e lart t shtetit Jugosllav. Kshtu edhe ka
lindur fmijt e saj kopil, t cilt i ka ln n jetimore, ndr
ta edhe vet diktatorin. Jetimorja, simbolikisht pasqyron
shtetin e sajuar jugosllav. Ajo e akuzon diktatorin, se gjat
lufts ka vrar me pahiri, motrat dhe vllezrit e tij, fmijt e
saj. Akuza e diktatorit rndohet, kur gjymtyrt tij e akuzojn
at, pr krimet e bra. Diktatori vazhdon t mohoj t
vrtetn, ai mohon nnn vdekje. Madje, ai mohon edhe
nnn e vet. N pikn kulmore, shfaqet kori i nnave, me n
krye nnn plak. Nnat me n krye nnn kosovare, kan
pr baz, akuzn pr shkatrrimin e familjes, familje e cila i
mungon diktatorit.
N Karrigen e nxeht, nna kosovare prfaqsuese e
nns ilirike, vjen si modeli unik i nns s prkryer. T huajt,
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qindra her arritn t pushtojn trojet tona, t thyejn e

zhbjn kufijt, por asnjher nuk arritn, t pushtojn
bazamentin e kombit ton, FAMILJEN. Asnjher nuk
arritn, t thyejn kodin e familjes shqiptare. Kjo merit, i
takon nns. Ajo nuk pranoi t bart brenda mitrs s vet,
kodin e huaj gjenetik. Ajo, nuk pranoi t lind fmij pa
adres gjenetike. Qindra e mijra nna kosovare, sakrifikuan
jetn e tyre, vetm se nuk pranuan t jepnin nderin. Pra,
ruajtja e nderit dhe moralit, brenda familjes dhe
bashkshortsis, e bn UNIK kodin e nns shqiptare, si
rrjedhoj, kodin e kombit. Kjo sht pika e dobt e diktatorit.
t cilit i mungon familja. Andaj, ai krkon nga nna kosovare,
q t paktn simbolikisht t ja mundsoj, ta prjetoj ndjenjn
e bashksis familjare. Dashuria e nns pr familjen e saj,
ndrgjegjson, dhe ngjall ndjenjn e njerzores, te diktatori.
Paradoksi i ktij fenomeni, qndron n faktin se nna
kosovare, s pari akuzon diktatorin, pr shkeljen e nderit e
pastaj, pr vrasjen fizike, t familjes s saj. Pra n kt pik,
shpirtrorja, e prjetshmja, na shfaqet mbi materialen, t
prkohshmen. Por, diktatori si i till, do t mbetet prjetsisht
peng i fronit. Pr t cilin sht i lidhur, si pasoj e t bmave
t tij, me qllim mbajtjen e pozits, fronit, pushtetit n jetn e
ksaj bote. Krejt n fund, aktori heq maskn e diktatorit, dhe
jep mesazhe paqe, pr njerzit. Veanrisht t dashuruarit pas
fronit, peng i t cilit, diktatori mbetet prjetsisht.
Versioni i drams Karrigia e nxeht, q mund ta
lexoni n kt botim, n tri gjuh, nuk sht versioni origjinal
i ksaj drame. Por, versioni m i prafrt, me shfaqjen
Karrigia e nxeht. Shfaqje kjo e inskenuar n TKK, n vitin
2014-2015. Kjo shfaqje po vazhdon t mbahet e pezulluar.
Prandaj krahas tekstit, sht botuar edhe platforma
regjisoriale, mbi t ciln sht inskenuar shfaqja.

THE HOT CHAIR -A forbidden play!

No person can escape the Judgement in the Hereafter.
Every person is a pledge for what he has earned. Do not lose
the eternity by submitting to the luxury which this short life
offers. Do not abuse your position and what has been
entrusted to you because a moment shall come when you will
be judged. Do not magnify the throne. Do not forget your
Lord because youll become a slave of passions and desires.
These are some of the messages delivered through this theatre
play.
After the premiere of the play The Hot Chair
(Judgement in the Hereafter) the taboos ae broken as the
theatre deals with the present! This was achieved through the
play The Hot Chair in which the dictator cannot be judged in
this world. Instead he is judged in the Hereafter, in the golden
chair, which time after time turns into a flaming chair. Hence,
this play is considered as one of the greatest theatre
achievements realized in Kosova.
The first injustice done regarding this artistic play
began in 2010 when it was rejected from the competition,
before being shown to the commission appointed for
assessing authorial dramas for the competition "Katerina
Josipi" organised by the Ministry of Culture, Youth and
Sports and the National Theatre of Kosova!
Five years later, on 10 February 2015, the premiere of
the play was given at National Theatre of Kosova. There was
a replay and a second premiere on 17 February at the theatre
in Prizren town. One month after the premiere the play was
arbitrarily taken off the repertoire of the National Theatre of
Kosova.
On the occasion of the premiere the author and
director of this play declared: I invite our sworn enemies that
through art, that is through the play The Hot Chair (which is
about the judgment of the dictator Slobodan Miloevi in Hell
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by mothers led by the Kosovar mother), to start the eventual

improvement of diplomatic and intercultural relations
between the state of Kosova and the Serbian-Slavic remnants
that live scattered through the Illyrian soil. This statement
disturbed the parallel structures of UDB (i.e. Serbian State
Intelligence) installed at the management of the National
Theatre of Kosova, which in cooperation with Belgrade, were
drafting their anti-national plans to destroy the Albanian
national drama and the return the Serbian drama in the
National Theatre of Kosova.
The Hot Chair, a play with an adequate theme
through which in a legal and institutional manner the first step
would be made towards the eventual improvement of
intercultural relations between the states of Kosova and
Serbia. One month after the premiere of the play the newly
appointed head of the Council of the National Theatre of
Kosova, speaking as a manager of this Council said for the
media: The Hot Chair does not fulfil the minimum artistic
criteria to be part of the repertoire of the National Theatre of
Kosova. Therefore, the Council of the National Theatre of
Kosova has unanimously decided to take this play off the
theatres repertoire and the author and director of this play
will banned from entering in the theatre.
It has never happened in the history of the National
Theatre of Kosova that a play is taken off the repertoire after
the premiere has been played. It was also the first time that a
theatre director was not allowed to enter the theatre. Later on
it was confirmed that none of the members of the Council of
the National Theatre of Kosova had seen the play and that
these two decisions were arbitrary decisions of the manager of
the Council who was exercising parallel functions. Apart from
the managerial position in the Council of the National Theatre
of Kosova he was also engaged in improving the intercultural
relations between Kosova and Serbia. Therefore The Hot
Chair was an obstacle in implementing his anti-national
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diabolic deals. Thus, the theme and the purpose of the play
The Hot Chair presented an obstacle in realizing the play on a
love story titled Romeo and Juliet which was not realised as
cooperation between Kosova and Serbia as two countries, but
rather as cooperation between Serbia and Prishtina as part of
Serbia. The poster of the play had only the logo of the
Republic of Serbia while the logo of the Republic of Kosova
was left out. On 15 March the same play on a premiere at the
National Theatre of Kosova. On this day, the author and the
director of the play The Hot Chair was arrested and his
installation Against the Serbian hoof at the National Theatre
of Kosova was demolished. Because of this arrest it was not
possible to realise the protest performance, Blood trails.
The arrest of the Kosovar artist in front of the National
Theatre took place one hour before the beginning of the play
Romeo and Juliet. This arrest was done upon the request of
the Serbian Embassy in Kosova and the continuous insisting
of the same individual, who arbitrarily had taken off the
repertoire the play The Hot Chair and was put in charge of the
mission to accomplish the intercultural relations between
Serbia and Prishtina as part of Serbia.
Whilst the play The Hot Chair continues to be
suspended because of the ongoing false cooperation between
Serbia-Prishtina another play was realised where our national
symbols are heavily insulted and denigrated. This plays
premiere was also realised at the National Theatre of Kosova.
This was a confirmation that intercultural cooperation is
completely political, and as such, is a product of Belgrades
parallel structures installed violently in the Kosovas
institutions. Later on, two Kosovar actors resigned from the
reconciliation play with a love story. At this point, everybody
understood that this whole history was a scenario prepared by
the Serbian Academy and realised by their Albanian speaking
collaborators. These false intercultural cooperation acts are a
great loss for Kosova and a great victory for Serbia. Such a
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false spiritual reconciliation, realised by some individuals

with Belgrade for private individual interests is made on the
account of Kosova. Such a false reconciliation frees Serbia
from its accountability for 1655 missing persons and 20,000
women raped for which no apology was ever made and the
fact that Serbia has not done anything yet to return the cultural
heritage artefacts stolen from Kosova during the war, the
treasury and many other crimes it has committed.
The play The Hot Chair continues to be suspended as
a consequence of the usurpation of the theatre and the
institutions of the Republic of Kosova by the UDB parallel
structures which has paralysed the cultural life in the country
and not only.
In the post-war Kosova it has become a trend to
realise "artistic" works through ciriticising and even insulting
the customs andtraditions of our ancient people, by presenting
our virutes as vices and archaic customs which are not trendy
anymore. In films and in theatre, it has become common to
emphasize the negative phenomenonsof the Kosovar society
including the heroic war for liberation as well as our unique
symbols and traditions. All this in the name of "Art" and what
is known as "actual trend", or toflirt with certain circles for
certain aims!? Lastly, it is important that in front of the public,
Kosova was presented as a dark country and the Kosovars as
people with lots of vice that leave much to be desired. Art is a
holy mission, this is a desecreation of the mission!
THE STORY: The Hot Chair (Judgement in the
Hereafter) is a drama of the absurd combined with the reality
which deals with the character of the dictator Slobodan
Miloevi. This art work results as a response to dictators,
greedy people and abusers of the throne, in the whole world,
as a response to the fact that the victim is often placed in the
bench of the accused whilst amnesty is granted to the culprit.
This is quite common in Kosova especially after the last war
12

where different trials have taken place for purely political

reasons.
However, this drama is not of a political nature but
rather a realistic reflection on history. As such, it tackles the
human side by facing the dictator with the mother as a unique
character who carries messages of peace and love "By hurting
a mother you hurt all mothers in the world".
While facing the worlds most prominent figures the
dictator makes fun, ridicules and ironizes. The challenge
begins when the old mother tells what she has been through.
The dictators attempt to kill the Kosovar Mother summons
the arrival of Mother Death, which together with death also
brings the chance for the dictator to repent. The dictators
attempt to kill the Mother Death brings the unavoidable act of
death, and act which carries the event from the real world to
the Eternity, where accountability takes place, The Judgement
in the Hereafter.
In the Hereafter the dictator first meets his biological
mother who tells the story of the past and reveals the
unfortunate reality hidden in the ruins of the false country.
She tells her past as a famous singer entertaining high
government officials. This is how she had given birth to her
bastard children, among which to the dictator himself, whom
she had left in an orphanage. The orphanage symbolically
presents the artificial Yugoslav country. She accuses the
dictator that during the war he had unintentionally killed his
brothers and sisters, her children. The accusation becomes
worse, when his body parts accuse him for his committed
crimes. The dictator continues to deny the truth, he even
denies his own mother as well as Mother Death. At the peak
moment the Mothers Chorus appears headed by the old
mother who accuses the dictator for destroying her family, a
family which the dictator misses.
In The Hot Chair the Kosovar Mother as a
representative of the Illyrian mother comes as a unique model
13

of a perfect mother. Foreigners have managed to conquer our

lands hundreds of times, to break and dissipate borders. But
they have never managed to conquer the basis of our nation,
The Family. Never have they managed to break the code of
the Albanian Family. And this merit belongs to the Albanian
mother. She never accepted to carry in her womb a foreign
genetic code. She never accepted to give birth to children
without genetic address. Hundreds and thousands of Albanian
mothers sacrificed their life in order to protect their honour.
Thus, the protection of honour and morale of the family and
marriage makes the code of the Albanian mother UNIQUE,
and as a result, the code of the Nation. This is the weak point
of the dictator who misses his family, therefore he asks the
Kosovar mother to at least symbolically enable him to
experience the feeling of belonging to a family.
The mothers love for her family raises the awareness
and the human sense to the dictator. The paradox of this
phenomenon lies in the fact that the Kosovar mother first
accuses the dictator for stepping on her honour and then for
the killing her family. At this point the spiritual side, the
eternity appears above the material, the temporary. But the
dictator as such shall forever remain a pledge of the throne to
which he is connected as a consequence of his deeds that
aimed to maintain the position, the throne, the power in this
worldly life. At the very end the actor pulls off the mask of
the dictator and gives peace messages to all humanity,
especially to those in love with the throne, to which the
dictator remains a pledge forever.
The version of the drama The Hot Chair which you
may read in this publication, in three languages, is not the
original version of the text but the closest version of the
drama The Hot Chair which was staged at the National
Theatre of Kosova in 2014-2015. A play which remains
suspended.

14

Autor
Sokol Plakolli

KARRIGIA E NXEHT
(GJYKIMI I BOTS S PRTEJME)
djali dhe nna

Dhjetor 2015
15

TABLO - I-

(Anash publikut shihen n drithije figurat e nnave

me shikim t ftoht ngjeths. Zrat e tyre t pa artikuluar vin
te publiku si thirrje e ndrgjegjes son t fjetur. Ky sht
frkimi i par i publikut me shfaqjen.
Dgjohen tinguj t grshetuar nga himni i ushtris
amerikane dhe ruse prderisa shfaqet nj hapsir e zbrazt,
n qendr shihet nj karrige jo e zakonshme e punuar nga
qelqi. Kjo karrige duket t jet kolltuk i punuar nga ari por q
n vazhdimsi merr forma t ndryshme sipas situatave q
eskalojn gjat shfaqjes. Shihen dy infermiere t cilat sjellin
me nj karroce disa vegla i afrohen Karriges s vendosur n
qendr ku rrin i shtrir diktatori thuajse sht i vdekur.
Fillojn t rregullojn mjetet dhe pastaj fillojn ti bjn
masazhe gjat kohs sa transmetohen lajmet. Ato i bjn
trajtime t ndryshme fizioterapie. Komunikimi n mes
diktatorit dhe infermiereve sht i veant n nj gjuh
thuajse t pakuptueshme. Prderisa
ia prpunojn
operacionet plastike, fillon sigla e emisionit t lajmeve).
Folsja: T nderuar dgjues, po japim lajmet e mesnats.
Sot m 11 mars 2006 n ora 09:30 vdiq ish presidenti i ish
Jugosllavis.
Lajmi sht konfirmuar zyrtarisht edhe prej autoriteteve t
Tribunalit t Hags.
Nga informacionet e deritanishme, thuhet se vdekja e tij ishte
e natyrshme.
Me 22 shkurt ai ishte deklaruar, se nuk sht n gjendje, t
vazhdoj t ballafaqohet, me dshmitart.
Ndrsa, me 24 shkurt u refuzua nga Tribunali krkesa e tij pr
shrim n Rusi.

16

Folsja: Kryeprokurorja e gjykats s Hags, Karla Del

Ponte, shprehi keqardhje pr vdekjen e tij: Kjo vdekje,
pamundsoi vnien n vend t drejtsis, pr viktimat, q ai
kishte shkaktuar. Tha ajo.
Djali : Ha ha ha ( Diktatori ngrihet dhe qesh).
Ka vdekur? A thua pin t vdekurit? Ha ha ha.
Folsja: Ish kryetari i ish Jugosllavis kishte frik se do ta
helmonin. Kshtu sht shprehur sot n Hag avokati
mbrojts i tij. Mjekt ligjor nga Serbia do t jen t
pranishm me rastin e autopsis s trupit t tij t pa jet.
Vendimi u mor nga gjykata e Hags. M tej do t dgjojm
prononcimet e figurave eminente botrore n lidhje me rastin.
Folsja: Bill Kllinton tha: Jam i lumtur q Shtetet
e Bashkuara udhhoqn koalicionin q ndali fushatn
e spastrimeve etnike n Bosnje dhe Kosov. M vjen keq q
gjykimi ndaj tij nuk prfundoi. Ai nuk i pranoi krimet q
kishte br dhe nuk krkoi falje asnjher.
Sekretarja Amerikane e Shtetit Kondoliza Rajz tha se pr nj
koh t gjat n Evrop nuk ka pasur njeri m t keq se sa si
e quajti ajo kasapi i Ballkanit.
E pyetur se a do ta drgojn SHBA-t ndonj prfaqsues n
varrimin e tij, ajo tha se as nuk i kishte shkuar kujt mendja
pr nj prfaqsim t till shtetror amerikan.
Djali: Ha ha ha. Gnjeshtr, gjithka sht gnjeshtr n
kt bot. Gnjeshtari m i mir sht ai gnjeshtra e t cilit
zgjat m s shumti.
Ueslli Klark tha: "Vdekja e Sllobodan Millosheviqit
ua mohon viktimave vnien n vend t drejtsis. N ann
tjetr ndihmon shtetin e tij ti shmanget t vrtets. Ai ishte
nj monstrum si Stalini dhe Hitleri".
17

"Veprimet e tij kan shkaktuar vdekjen e m shum se 300000

personave n Evrop. Katr luftra dhe jo stabilitet n
juglindje t Evrops". Tha ambasadori Riqard Hollbruk.
Djali: Ha ha ha. N botn e rrejshme gjithka sht rren.
Un e thash kt? Ha, ha, ha... far kuptimi ka kjo?
N botn e rrejshme sikur mi pshpriti kto fjal dikush n
vesh.
Folsja: Drejtprsdrejti nga Haga na bjn t ditur se nuk ka
asnj shenj q personi n fjal sht vrar apo vetvrar. Ai
ka vdekur thjesht nga vdekja natyrale. Pr hollsi t tjera do
t njoftohemi pas autopsis.
Djali: Kjo sht nj gnjeshtr e vrtet. Ha ha ha . Kjo
sht nj gnjeshtr e vrtet. Ou, gnjeshtr e vrtet....
Edhe kt un e thash? udi.
Folsja: Ministri i jashtm francez sht shprehur se ish
presidenti jugosllav ishte kryearkitekt i luftrave ballkanike
dhe i spastrimeve etnike q lan me mijra t vrar. Me
vdekjen e tij u largua nga skena njri nga aktert kryesor t
luftrave ballkanike.
Djali: Luftrat n Ballkan nuk do t ndalen kurr. Ka pasur,
ka dhe gjithmon do t ket luftra.
Folsja: Udhheqsi i Bosnjs dhe Hercegovins Sulejman
Tihi tha:
"Pr hir t viktimave, pr hir t s t s vrtets dhe drejtsis,
do t ishte m mir q ai t jetonte deri n fund t gjykimit".
Djali: E mor mi q fshiheshe npr birucat e nevojtoreve.
Tash e ke knaqsin t flassh.

18

Folsja: N Beograd, Partia Socialiste tha se vdekja e ish

presidentit t Serbis dhe Malit t Zi ishte humbje e madhe
pr Serbin. sht e rndsishme pr t ardhmen e vendit q
ai nuk u shpall fajtor ai ia doli ti mbroj interesat kombtare
dhe shtetrore, tha kreu i partis Ivica Dai.
Djali: Mbylle more buburrec, ju e dini shum mir q un
jam gjall. Jam gjall, ja gjall jam, madje edhe po pi. U
harxhua politika, politika edhe pijen ta shteron.
Folsja: Gjenerali nga Kosova Agim eku, pjesmarrs n
disa luftra t ish Jugosllavis ka reaguar sot ndaj vdekjes s
ish presidentit jugosllav duke u shprehur se klasa aktuale
politike n Serbi duhet t tregohet kritike ndaj s shkuars
konfliktuoze e cila prodhoi nj varg luftrash n rajonin e ish
Jugosllavis.
Djali: Ti zvarranik tullac i mjerueshm. Po t mos ishin kto
luftra ti do t mbeteshe pa pun.
Folsja: Vdekja n eli e kasapit t Ballkanit, njeriut q
shkaktoi dramat m t mdha n historin e boshnjakve,
shqiptarve, kroatve e sllovenve pa anashkaluar as vet
serbt, malazezt dhe vojvodinasit q u viktimizuan n
luftrat e ish Jugosllavis si agresor sht nj lajm i papritur
pr familjet e qindra mijra viktimave t cilt me padurim e
prisnin verdiktin e drejtsis q nuk u dha. Por Zoti do t ja
jap dnimin e merituar tha Salih Berisha.
Djali: Jebo te Bog, jebo te. Ha ha ha, politikani shqiptar
me z t shterur, i ha foret me lehtsi.
Folsja: Ndrkaq nga Kosova ende nuk ka ardhur ndonj
reagim zyrtar lidhur me rastin.

19

Folsja: Diplomacia ruse shprehu sot keqardhjen q Gjykata e

Hags nuk e pranoi n fund t shkurtit krkesn e ish
presidentit jugosllav pr t'u kuruar n Rusi. Familja e ish
presidentit t Jugosllavis akuzoi sot nga Moska Gjykatn e
Hags dhe e ngarkoi gjykatn me prgjegjsi t plot pr
vdekjen e tij.
Folsja: E shoqja e tij Mirjana akuzon gjykatn e Hags pr
vdekjen e bashkshortit t saj. Gjykata vrau burrin tim, sht
shprehur nga Moska pr CNN gruaja q n vitet e nntdhjeta
u konsiderua si frymzuesja e politikes nacionaliste t
ndrmarr nga i shoqi i saj n Ballkan.
Djali: Politika sht lavire, politikant jan lavir, shkojn pr
mrekulli.
Folsja: Dshmitari i radhs me t cilin do t prballej
Sllobodan Millosheviq n gjykatn e Hags ishte nj nn nga
Kosova. Ja se si u shpreh ajo kur mori lajmin pr vdekjen e tij.
Nna kosovare: Ai ma shkatrroi familjen.
Ma nderoi vajzn n sy t t gjithve.
Vrau pes djemt e mi dhe burrin.
M vrau nipin tim t vetm e masakroi para syve tan...
(dgjohen dnesa).
Nuses sime ia nxori fmijn nga barku.
Ma shkatrroi familjen
(dgjohen ofshamat e plaks).
Do t doja t ballafaqohesha me t.
T'i thosha para gjith bots se mi nxori syt dhe ma preu
gjuhn.
Q t mos mund t flisja.
Do t doja ta pshtyja n fytyr para se t vdiste.
Por tashm ai ka vdekur.

20

Mua nuk m ka mbetur tjetr pos t pres "Gjykimin e bots s

prtejme"
(Ai i xhindosur nxjerr revolen dhe shtien disa her n drejtim
t transistorit nga ku po emitohej zri i nns. Nga transistori
i prishur dgjohen tinguj t uditshm - abstrakt).

21

TABLO - II (Nga po i njjti vend ku diktatori shtien me revole drejt

transistorit q emitonte zrin e nns kosovare, shfaqet silueta
e nj gruaje. Djali fikson shikimin drejt saj).
Djali: Kush jeni ju?
Ju pyeta kush jeni ju?
(Silueta e gruas fillon t afrohet ngadal. Ai i friksuar
ja drejton revolen dhe shtien mbi te. Revolja e zbrazur i
mbetet n dor ndrsa silueta e gruas vazhdon t ec drejt tij.
Ai mbetet i shtangur n vend. Ajo ngadal ia heq revolen dhe
fillon tia ledhatoj duart).
''Nna'': Djali im, o djali im, djali im i vogl, i dashur.
Kur do t ngopesh me gjak?
Fol, a nuk u ngope me gjakun e vllezrve dhe motrave tua.
Gjith ato vrasje, tash krkon ta vrassh edhe nnn.
Djali: Kush jeni ju q m flisni pr nn?
''Nna'': Un jam nn.
Djali: Cila nn?
''Nna'': Nn jote.
Djali: Ti.... ti nuk je nn ime.
(Ajo e heq vellon e zez dhe shfaqet figura saj e cila prngjan
krejtsisht me nnn e tij biologjike).

22

''Nna'': T linda apo nuk t linda un, ti linde me shenjn e

Kainit n zverk.
Djali: Ti nuk je nn ime.
Por kur flet, kur shikon, kur prek, je krejtsisht si ajo.
Po... Ti je vet ajo. Ti je nna ime.
Jo... Jo. Ti nuk mund t jesh.
Nna ime nuk jeton m, ajo ka vdekur koh m par.
''Nna'': Po, ajo ka vdekur shum koh m par.
Djali: Ather si mund t jesh ti nna ime prderisa ajo ka
vdekur.
''Nna'': Un jam nna vdekje.
Ajo q i merr njerzit nga kjo bot pr n botn e prtejme.
Djali: Ha ha ha. Prralla .
Ajo q i merr njerzit nga kjo bot pr n botn e prtejme.
Un nuk besoj n jetn pas vdekjes.
''Nna'': E di e di q nuk beson, po t besoje nuk do ti bje
ato q i bre.
Besove a nuk besove, deshe a nuk deshe.
Vdekja dhe bota e prtejme ekzistojn, ekziston edhe Krijuesi
i tyre.
Me urdhrin e Tij ma kthe dhuratn q t'u dha kur linde.
(Ajo e kthen kapolen dhe i zgjat duart drejt djalit ndrsa ai i
fsheh duart e tij n shenj frike)
Djali: far? Jo. Jo. Kurrsesi. Kurr.
Nna: Me ose pa dshirn tnde.
Djali: Jo.

23

Nna: Mjaft e mbajte.

Djali: Jo, jo nuk dua.
Nna: Mjaft e keqprdore.
Djali: Nuk pranoj.
Nna: Mjaft tu dha kjo knaqsi.
Djali: Mjaft m.
(Ajo e kap pr dore dhe fillon ta godas me kamxhik derisa
dialogojn)
''Nna'': Shpirti q tu fal (E godet me kamxhik).
Djali: Hej, mjaft m godite.
''Nna'': Koha mes lindjes dhe vdekjes.
Djali: Hej, hej. (Thrret por askush nuk i prgjigjet).
''Nna'': Pozitn...
Djali: Ti lavire.
''Nna'': Pushtetin, Pasurin. T gjitha i keqprdore...
Djali: Lavire e ndyr. Gjykimi im ka prfunduar dje .
''Nna'': Edhe familjen, shokt, bashkpuntort ...
Djali: Ti je e mendur.

24

''Nna'': Njerzit e thjesht q t deshn. I keqprdore. Pr t

gjith do t japsh llogari. Do t dshmojn kundr teje.
Djali: Prse ka nevoj t luhet kjo loj me mua.
Un tashm jam i lir.
Plani ka funksionuar shklqyeshm.
T gjith e kan pranuar vdekjen time t rrejshme.
Edhe armiqt edhe miqt e mi.
''Nna'': Ti nuk e ke asnj mik. Askush nuk t do. T
vardisen nga frika.
(Ajo fillon t'a ledhatoi me kamxhikun e zjarrt, derisa e
mashtron dhe ja fur kokn. Pastaj i ngrit dhe i ul duart me
shpejtsi. Djali mbetet i ngrir n karrige e cila shndrrohet n
karrige t zjarrt. N sfond dgjohen zra ngjeths. Shihen
siluetat e grave t cilat hyn n sken njtrajtshm. I afrohen
djalit dhe e marrin n duart e tyre prderisa nna vdekje
largohet njtrajtshm. Ato e zhveshin at duke e kthyer n
rroba burgu dhe e ulin n karrige. Pastaj njtrajtshm, pa u
vrejtur, kthehen n sfond dhe nga mesi i tyre nxjerrin nnn
biologjike, e shtyn n drejtim t djalit ndrsa vet ato
zhduken n sfond).

25

TABLO - III (Nna biologjike i afrohet diktatorit dhe e thrret)

Nna: Zgjohu, hajde zgjohu. Zgjohu t thash.
(Djali nuk lviz ndrsa nna ia heq maskn dhe me maskn
e tij e godet turinjve. Ai zgjohet).
Nna: Ky sht djali im. Kshtu sht djali im.
Djali: Ku jam, ku jam?
Nna: N botn e prtejme djali im.
Djali: Nn, je ti nn?
Nna: Po un jam shpirti im.
(Nna heq shallin me t cilin ka mbshtjell kokn.
Djali shtanget n vend. Ai e shikon nnn e tij me nj fytyr
t brisht fmijrore.)
Djali: Nn, ti qenke gjall.
Nna: Jo, jo ...
(Djali i hidhet n prqafim me dashuri fmijrore. E
prqafon dhe ja ledhaton faqet, e shikon n sy, ndrsa nna
nuk lviz).
Djali: Si jo.
Ti po flet nn.
Jam ndrr apo? (E prek e ledhaton).
Nn, sa m paska marr malli.
Smund t besoj se u takuam me t vrtet.
Ti je gjall nn.

26

(E puth dhe e ledhaton. Ata shikohen n sy, afrohen tek njri

tjetri pak para se t puthen. Nna pr nj her e shtyn djalin
me t dy duart duke e prplasur pr tok. Ai fillon t aj si
fmij i shkret, i vobekt)
Djali: Prse po m shtyn, ti gjithmon m ke prqafuar
Nna: Sepse ti m zhgnjeve!
Djali: Un t paskam zhgnjyer?!
A nuk e vazhdova un rrugn tnde?
Idealet q ti mi msove
(Dhe niset drejt saj pr ta prqafuar. Nna e merr pr
dore dhe e ul n karrigen rrotulluese n form piramide dhe
e len aty. Djali duket si t jet i gozhduar n at karrige. Ai
tenton t ngrihet nga aty por nuk mund t lviz, thuajse sht
i ngjitur pr karrige me ngjits, karrigia ndizet).
Djali: Ku jam?
Nna: N vendin ku dalin n shesh t fshehtat. Ti je i
vdekur.
Djali: Un nuk kam vdekur.
Nna: Tash je n botn e prtejme, hesht dhe dgjo.
Djali: Un nuk kam vdekur. Nuk dua t dgjo, dua t shkoj.
Nna: Ather shko, shko po munde.
(djali tenton t ngritt nga karrigia por nuk mund t lviz).
Djali: Si erdha ktu, h ?
Kush m solli ktu, iiih ?
Pse m sollt ktu?

27

Nna: Ktu nuk mund t, t sjell askush pos nj urdhri q

nuk kthehet pas.
Djali: Prse jam ktu?
Nna: Q t gjykohesh.
Djali: Prse t gjykohem nn?
Nna: Pr vrasjen e vllezrve dhe motrave tua. Pr t gjitha
viktimat nj nga nj.
Djali: Po un (nuk) kam vrar. Un...
(Shihet djali i cili mundohet t flas. Lviz buzt, por
fjalt nuk i dalin nga goja. Zgurdullon syt e prap mundohet
t flas por fjalt nuk i dgjohen, Zjarri posht karriges ndizet
edhe m shum, fjalt n kllapa nuk i dalin nga goja).
Nna: Ktu mbretrojn ligje tjera, pr dallim nga atje (lart)
ku njeriu mund t gnjej.
Mundet edhe t vras e t dhunoj dhe t nesrmen t v mask
n fytyr.
E t nesrmen t shfaqet si engjlli shptimtar.
Jo biri im i dashur, ky sht vendi ku dalin n shesh t
fshehtat.
Ktu gnjeshtra ekziston, vetm si nocion, n baz t s cilit
gjykohemi.
Djali: Prse po m gjykoni?
Un nuk kam br asgj t keqe.
M leni t shkoj un.
(Buzt lvizin por fjalt nuk i dgjohen, derisa shihet
shqetsimi i madh q e ka kapluar).

28

Nna: Biri im, un i kuptoj prpjekjet e tua, edhe mua njsoj

m pat ndodhur kur gnjeja se ti nuk je im bir.
Buzt lviznin, fjalt nuk dilnin nga goja prvese kur flisja t
vrtetn.
Biri im, i ne t dy jemi t gnjyer, t mashtruar, por me
dshirn ton. Ky mashtrim i vetvetes na solli ktu.
Jan t mallkuar gnjeshtart, andaj po vuajm.
( Shihet djali i cili n mundime prplitet pr tu liruar
nga karrigia por nuk mundet. Dgjohen tinguj t shthurur,
krijohet atmosfer e pa qart e cila sjell te personazhet
gjendje t nder. Djali i cili zgurdullon syt sikur po sheh
dika t trishtuar ndrsa nna shtanget nga trishtimi. T dy
shikojn lart n t njjtn pik. Fjalt q jan n kllapa
thuhen por nuk dgjohen)
Djali: Fmijria ime, jeta ime.
Un (nuk) jam fajtor.
Un jam fmij, fmijt jan t pafajshm.
Nn, ti m msove t gnjeja.
Nna: Edhe mua babi m pat msuar ta gnjeja nann kinse
ne vetm po zbaviteshim.
Djali: Fmijria ime... Fmijria ime... fmijria ime...
(Ndrlidhen fjalt e djalit dhe
nns)
Nna: Fmijria ime... Fmijria ime... Fmijria ku pr nj
ast prjetova knaqsi. Babai zgjati duart dhe me shtrngoi
fort, m pushtoi me afsh. Nna kur na pa ashtu t shtrnguar,
u tmerrua, e goditi at n fytyr. Pastaj biseduan dika
fshehtas dhe m e m quan n jetimore. Ma kthyen shpinn
m mohuan.

29

Ja se si po digjen. Ky ndshkim sht sepse m patn

braktisur. Dikur ata besonin.
Por u dhan pas idealeve gabuara. E harruan Zotin.
( Gjat kohs kur nna tregon pr fmijrin e saj, djali
prplitet n mundime t jashtzakonshme, prsrit fjalt e
nns por nuk dgjohen fjalt e tij, ndrsa nna n fillim
ndjehet mir por trishtimi vjen duke iu shtuar gjithnj).
Djali: Fmijria ime, nn, fmijria ime.
Ti ather m shtrngoje do dit.
Ti m detyrove t gnjej.
Ti m msove t gnjej.
Me fajin tnd tash ne po vuajm.
E djathta, e djathta ime po zhduket.
E djathta ime, e djathta humbi krejtsisht. U zhduk.
Zjarri, zjarri po prhapet nga t gjitha ant. A nuk e sheh ?
Mos m shtrngo nn, mos m shtrngo. Ti po m ngulfat.
( Ata pavetdijshm shtrngojn njri tjetrin deri n
ngulfatje. Shikojn njri tjetrin. Nns i shkojn lott nga
nostalgjia, ndrsa djali shtanget thuajse kthehet n statuj t
gjall. Nga trishtimi t dy prsrisin t njjtat fjal).
Nna: Edhe djathta, e djathta ime po zhduket.
Kaq shpejt u shprb, kaq shpejt u zhduk.
Djali: Zjarri shkatrrues po prhapet nga t gjitha ant.
Nna: E majta tmerr. O Zot tmerr.
Djali: Un n mesin e flaks.
Nna: N mesin e flaks s kuqe u shfaqn flokt e mi t kuq.
Rinia ime, un vajz e pashme, me z t thekshm e melodik,
po kndoja n kor
30

( N narracion dgjohet kori, nna dhe djali e prcjellin duke

knduar ).
Hej, Sloveni jo ste ivi
Rijec naih djedova,
Dok za narod srce bije
Njihovih sinova
ivi, ivi, duh slovenski
ivjee vijekov'ma,
Zalud prijeti ponor pakla,
Zalud vatra groma
Nek' se sada I nad nama
Burom sve raznese,
Stjena puca dub se lama,
Zemlja nek' se trese
Mi stojimo postojano
Kano klirusine,
Proklet bio izdajica
Svoje domovine
Djali: Ti prap po m shtrngon nn.
Nna: Edhe mua m ka shtrnguar babi im dikur.
Djali: Ashtu si me ke shtrnguar edhe ti mua nn?
Nna: Po.
Djali: Nuk t besoj m.
Edhe ather kur m premtove se kurr nuk do t m lesh
vetm, ti ike dhe m le.
Nna: Edhe mua prindrit e mi m lan n jetimore.
Dhe m kurr nuk erdhn t m merrnin. Pastaj, u b si u b.

31

Djali: Gnjeshtare, ty t plqente t zbaviteshe me ta.

Deshe t bheshe kngtare e famshme.
Deshe t jetoje n luks.
Nna: Jo, ata m nxorn nga kori.
M solln at veshje t mallkuar, mi msuan ato kng.
Isha e detyruar ti argtoja, ma premtuan parajsn por e gjeta
ferrin.
Djali: Ather ti nuk ke t drejt t m akuzosh.
Edhe mua ata m detyruan t vrisja.
Sikurse ty, edhe mua ma premtuan parajsn. Andaj un jam i
pa fajshm.
Nna: Hesht i mallkuar ( E godet me t dy duart ).
Mallkuar qofsha q t linda.
Po t mos ishe ti, mua nj dit do t m nxirrnin nga ktu.

Djali: Mallkuar qofsh q m linde nn.

M solle n botn e egr pa m pyetur.
M dhunove, m msove t gnjej.
Pastaj vrave veten pr t shptuar.
Mua m braktise, m le pa dashuri prindrore.
Nna: Nuk mund t duroja m, at ndrr t tmerrshme q
shihja do nat.
Sikur fmija q e lindja, shndrrohej n gjarpr dhe na
glltiste t gjithve.
Djali: Dhe pr shkak t nj ndrre, vrave veten?
Jo, ti e vrave veten sepse t kishte rn fama.
Dhe nuk mund t jetoje, si nj grua e rndomt. Q rrit
fmijn e saj.
Kjo sht e vrteta.
32

Nna: Mbylle i poshtr. Ai gjarpr ishe ti.

Do t duhej t, t vrisja ty. Kshtu do t shptoja veten dhe
botn.
Hej... Mallkuar qofshi t gjith ju q m detyruat t lindi.
Djali: Ja ja ku po shihen. Ja si po digjen n flakt e njri
tjetrit.
Aty jam edhe un. Do t digjeni deri n pafundsi.
Nga Mareshali deri tek ushtart e thjesht qelbanik, q ma
bn trupin leck.
Shkaku juaj e vrava trupin tim, q ta liroja shpirtin e robruar.
Po digjem nga brenda.
Djali: Edhe un po digjem nn.
Kam ethe nn, po ngrij.
A nuk m sheh se si po digjem atje.
Edhe un jam n mesin e tyre duke u
djegur.
Nna: T shoh si nuk t shoh.
T gjithve ju shoh.
Aty jeni ju, diktatort e t gjitha kohrave.
Ja edhe ata q m detyruan t'i zbavitja.
Tash po i shoh me syt e mi...
Si po shkrihen n zjarrin e ndezur nga gurt dhe trupat e tyre.
Mallkuar qofshi!
Djali: Mallkuar qofshin.
Nna: T gjith jemi t mallkuar t humbur.
Djali: Edhe ti.
( Shkputen nga situata e cila krijohet, kinse ngjarjen po e
shohin "si n TV")

33

Nna: Po edhe un.

Do t duhej t refuzoja, m mir ishte t vetvritesha n
fillim.
Por, m plqeu. Jetoja si n parajs.
Por parajsa e jets s prkohshme sht shum e shkurtr.
Trupi im i njom, zri im i mbl, aroma e flokve t mia.
Joshte t '' lart madhrishmit '' e asaj kohe.
Secili dshironte t m kishte.
Kjo konsiderohej nder pr mua.
Djali: Edhe un isha jetim.
Ti kurr nuk m tregove kush ishte babi im.
Sa her t pyesja pr t, ti m prqafoje, m puthje.
M shtrngoje n gji duke m thn, se edhe un jam rritur pa
baba.
Edhe un jam rritur jetime.
Nna: T betohem, se isha e pafajshme.
Isha fmij i braktisur. Un jetimja e gjor.
Pata nderin q at nat vet Mareshali u honeps pas meje.
Kjo ua hapi rrugn t tjerve, derisa u bra leck .
I fundit ishte ai. Pijaneci mendurak.
Gradat q i kishte fituar n luftn nacionallirimtare ia
kishin marr.
Flinte n stalln e kuajve dhe pastronte tualetet e kazerms,
pr nj pako cigare. Kundrmonte aq keq. E mua, gjja e par
q m shkoi n mendje, ishte ta vrisja veten. Para se t duroja
t m ngjitej.
(Gjith situata e mhershme ndryshon. Si nj ndrr e
keqe e mundimshme q kryhet dhe njeriu gzohet se ka qene
ndrr e jo dika reale. Diktatori ngrihet nga karrigia dhe i
drejtohet nns. Shihet fytyra e tij e vrtet dhe n profil
maska ).

34

Djali: Zonj. Un nuk kuptova asgj nga gjith kjo q ju

that.
Andaj, dua t m lini t qet, nuk kam koh t merrem m
gjra t tilla.
Nse kam vrar, un kam vrar pr t mbrojtur interesat e
popullit tim.
Ju vet m keni premtuar se pas shkatrrimit t Jugosllavis.
Do t jetoj n luks.
Un e kam kryer shklqyeshm, misionin tim, me t cilin m
ngarkuat.
Tash duhet t filloj t jetoj, duhet t filloj ta shijoj jetn.
Tashm jam i pensionuar, e meritoj t m lini t qet.
N t kundrtn, un do t dal publikisht. Para te gjitha
mediave.
Dhe do i nxjerr n shesh, gjith t palarat tuaja, bashk me t
mijat.
( Nna e shtyn dhe e ul prap n karrige, i kthehet
me dashuri )
Nna: Edhe un do t doja t shkoja.
Do t doja q koha t kalonte. Por jo...
Ktu posht koha nuk harxhohet kurr,
Ajo sht e pa fund...
Ashtu sikurse zjarri q sht ndezur posht teje.
Zjarr i cili nuk do t fiket m kurr.
Ashtu si nuk do t fiket as zjarri q u ndez brenda n mua.
A nuk e sheh, a nuk e ndjen.
Ti je i vdekur, je n ferr. Ne t gjith kemi humbur
prgjithmon.

( Shihet djali duke u munduar t ngritt nga karrigia

e zjarrt por nuk mundet )

35

Djali: Ti je e marr.
T vdekurit nuk flasin.
Pastaj, un nuk besoi n vdekje.
Nuk besoj n ferr, as n botn e prtejme.
Dua t largohem menjher nga ktu.
ka sht kjo karrige e uditshme e cila po m prvlon ?
Si t ishte karrige elektrike t ciln po e testoni n mua.
( Shfaqet nna tashm sht e veshur me rroba
gjykatsi n dor mban nj bastun )
Nna: Qndrimi yt n at karrige t zjarrt sht i
prhershm.
sht karrigia t ciln e keqprdore.
Pr hir t lakmis q kishe ndaj saj, e mohove Zotin. Karrigia
u b Zot pr ty.
Djali: Ashtu sikurse fama pr ty.
Nna: Ti nuk prfillje m asgj.
Pos urdhrave t atyre q ta mundsonin t qndroje n at
karrige.
Djali: Ashtu sikurse ti q shkoje n shtrat, me ata q
ta mundsonin t bheshe e famshme.
Nna: Un kurr nuk kam vrar.
Djali: Ti e ke vrar veten.
Nna: Ti ke vrar gjith botn, pr t qndruar n at karrige.
Nga aty, ti jepje urdhrat pr masakra e bombardime.
sht karrigia e gjyqit nga e cila ike tinzisht.
Fronin q aq shum e deshe, tash mbaje.

36

Ti dshtak i vockl n vend q t'i shfarosje kosovart.

Ti vrave motrat dhe vllezrit tu.
Ti je ai q prmbyse ndrrn shekullore t popullit tnd.
Pr spastrimin etnik t Kosovs. Ti je ai q e dshtove planin
"Patkoi".
Ti je ai q e dshtove Akademin serbe prball
analfabetve shqiptar.
Tani ktu i jep vetes t drejt, t flassh me mburrje.
Djali: Ti je njeriu m i paprshtatshm, q kam takuar n
karriern time.
Je maskuar si nna ime dhe luan me ndjenjat e mia. Kjo q ju
po bni ndaj meje sht tradhti. M mir t m kishit ln atje
n gjykatn e Hags. Sesa t m sillnit ktu pr eksperiment.
Kt nuk e kam merituar. Tradhtar, shkels t premtimeve
tuaja.
Nuk dua t merrem me ju.
Nna: Ather merru me veten tnde.
( Nna zhduket n errsir. ai ngrihet nga karrigia dhe
e prcjell, por mbetet n errsir ).
Djali: Hej, hej , hej. Kush sht ai pijaneci?
Po ai Mareshali, q e prmende m hert?
A mund t ma shpjegoni m qart se kush jan...
( Shfaqet nna e ulur n karrige )
Nna: Me mareshalin, linda fmijn e par.
Isha shum e re kur mbeta me barr. Nuk desha t abortoja.
Nuk desha t bhem vrasse. Vrasse e fmijt tim. E linda...
E linda dhe e braktisa, ashtu si m patn braktisur mua,
prindrit e mi.

37

I dyti fmij ishte vajz. Nuk e di cili ishte babai i saj.

Isha e obliguar t shkoja n shtrat, me tre nga oficert e lart
t asaj kazerme.
Nuk desha ta braktisja. Desha tia kushtoja jetn. Por ma
morn.
U lndova shum, kur i zgjata duart plot dhe i ktheva bosh.
Nj vit nuk kndova. Pastaj u dorzova. Turneu zgjati gjith
jetn.
Jeta ime u b kng lindjeje e ndarjeje. Ndarjet ma thyenin
zemrn.
Knga i ndihmonte zemrs q t ngjitej. Lindja ma ndrpriste
kngn.
Ndarja nga fmijt e mi ma thyente zemrn. Dikur. Zemra u
b copa copa t vogla.
Sa m nuk kishte ka t thyhej. Asnjher nuk abortova.
Asnjher nuk vrava fmijt e mi. Fmijt e mi, fmijt e mi.
Kopilt e mi. Kopilt, kopilt e mi. Fmijt e mi, kopilt e mi.
Kshtu u krijua nj familje e uditshme. Nj grua dhe burrat e
saj anonim.
Prreth, fmijt t cilt nuk njiheshin mes vete. T gjith
jetonin brenda t njjts strehimore. Duheshin, urreheshin,
martoheshin, lindnin. Babai martohej me vajzn.
Vllai martohej me motrn pa e ditur. Familje e ndrtuar mbi
ideale t gabuara, n krye t saj zonja nn. Nna e rrejshme.
Zonja e madhe. Kurva e madhe. Zonja Jugosllavi!
Djali: Zonj, ju jeni e mendur.
Megjithse ka dika t vrtet nga gjith ajo q ju that.
Por mua as q m intereson. Andaj, ju lutem m lini t shkoj.
Ju betohem se nuk do t ju padis. Fundja edhe po t dua nuk
mundem.
Nuk kam si ta bj nj gj t till. Un jam i arratisur. T
gjith e din se un kam vdekur. Prandaj edhe skam se si t
ju padis.

38

Nna: Ti je i arratisur nga jeta por jo edhe nga vdekja.

Djali: Domethn, sipas teje, un jam i vdekur.
Mir. A mundet nj i vdekur t flas?
Ja un po flas. Dhe po t pyes pr her t fundit.
Kush jeni ju, dhe ka kan t bjn me mua, gjith ato gjra
q i treguat m hert.
Nna: Gjenerali i gjymtuar.
Pijaneci me grada t hequra. sht babai yt.
Djali: Si?
Nna: Ndrsa, ata q i vrave, jan vllezrit dhe motrat e tua.

( Djali i habitur ulet n karrige )

Djali: Ti vrtet thua se un...
Un kam vrar, vllezrit dhe motrat e mia. Pa e ditur?
( Ai provon t ngrihet nga karrigia por nuk mundet )
Nna: Kur dhe urdhr t bombardohet qyteti i Vukovarit n
Kroaci.
Aty ishte me familje, vllai yt i madh djali i Mareshalit.
Ti vrave vllain tnd dhe familjen e tij.
Djali: Nuk sht e mundur.
Megjithse kjo edhe mund t ket ndodhur.
Nna: Kur dhe urdhr t bombardohej Dubrovniku.
Aty ti vrave qindra civil t pafajshm...

39

Djali: Un isha i detyruar t jepja nj urdhr t till.

Ata, filluan t part agresionin, ndaj popullit tim...
( Shihet djali i cili lviz buzt por fjalt nuk i
dgjohen)
Nna: Ktu nuk mund t flassh gnjeshtra.
As t'ua hedhsh fajin t pafajshmve.
E fillove luftn n Bosnj. Dhe nuk u ndale, derisa numri i t
vrave arriti n njqindmij. N mesin e tyre n
Srebrenic, masakrove motrn tnde, me katr djemt e saj.
Njri ishte fare i vogl, sa kishte filluar t belbzonte. Ai t
ngjante krejtsisht ty.
( Shihet djali n prplitje nuk mundet as t flas e as t
lviz nga karrigia ).
Kshtu vrave vllezrit dhe motrat tua.
Un t shikoja nga ktu, nuk mund t ndrmerrja asgj.
Sa vrasje i bje, mua m shtohej barra e dnimit.
Kur vrisje vllezrit dhe motrat tua e kisha m t leht.
Por kur fmijve, ua vrisje nnat. Ato vinin te un m
akuzonin.
M akuzonin q t kisha lindur ty. M pshtynin n fytyr.
Uj t vluar hidhnin mbi mua. Sa her m kan poshtruar?
Sa her do m poshtrojn? Ja po thrrasin m thrrasin. A i
dgjon se si po m thrrasin. M duhet t shkoj kushedi se
kush ka ardhur, t m ngarkoi me fajin e radhs.
Djali: I dgjoi si nuk i dgjoi. Ato po e thrrasin emrin
tim.
( Nna me nj hap t leht niset drejt daljes. Skenn e
prshkon nj drit e kuqe e fort dgjohen tinguj abstrakt)

40

TABLO - IV ( Skena ndriohet nga nj drit e kuqe, djali fillon t

flas prart )
Djali: ka sht ky libr.
Refuzoi q un t kem shkruar n kt libr.
( Ai zgjat duart "sikur" merr nj libr t cilin sapo e
kap me duar, bn "sikur" t ket marr n duar nj cop
zjarri t ciln nuk mund ta lshoj m ).
Djali: Dua t pi.
Po digjem.
Nuk mund t duroj m.
Un po shkrihem.
Mos m gozhdoni.
Nuk dua t m mbyllni n arkivol.
Nuk pranoj.
Prse m mbyllt.
Ju tradhtar, as q e lexuat testament intim.
T vetmen krkes q e pata nuk po ma prfillni.
Un kam urdhruar q trupin t ma digjni.
Dhe hirin t ma shprndani npr qiellin e Jugosllavis.
Kori i nnave:
I varrosun apo i djegun.
I shtypun apo i thrrmuem.
I shprndam n uj, n ajr a n male.
Sot, do t duhej t ishe ktu, kshtu si je.
Zoti, do ta urdhnonte ajrin, ujin a malet.
Ato me urdhnin e Tij, do t t'tubonin.
Askush nga krijesat nuk e kundrshton urdhnin e Zotit.
Nna: Pos, neve njerzve.
Prandaj edhe na godet ndshkimi.
41

(Shihet djali i cili e shikon nnn me habi).

Djali: Kush je ti?
Nna: Nana.
Djali: Cila nan?
Kori i nnave: Nj nan. Nana. Un jam nj nan. Edhe un
jam nj nan.
Djali: Cila nan t pyeta?
( Dgjohet nj tingull i mbytur flauti i shoqruar me
vajin e nnave shoqruese t nns Kosovare, q ngjall
ndjenj e trishtimit e melankolis ).
Nna: Nj lugin e madhe.
E shndrrueme n vatr zjarri.
E bombardueme prej t gjitha anve.
Njerz t ngujuem pr s gjalli.
Kufoma t djeguna mi dhe q krkonin nj vorr.
Nj vorr, kufoma q krkonin nj vorr, nj vorr...
Kafsh t mbylluna, t ngordhuna nga uria.
Nana me gjinj t shterruem.
Klithje t foshnjave, za mekuna nga uria.
N mes t fshatit . Nj kull e vjetr dardane.
Nusja jeme me foshnje n prehn.
E rrethueme nga grat e fshatit.
Ato ishin tubue, me e mbrojt me trupat e tyne.
T vetmin mashkull t mbetun gjall nga ai fshat.
Dera e kulls u thye. U thye dera e kulls, dera e kulls u
thye...
Grat nuk brengoseshin ma pr fatin e tyne, po pr fatin e

42

djalit.
Ishte i vetmi za mashkull i mbetun gjall n at fshat.
Kori i nnave: Pse qan ky fmij?
Pyetn ushtart e tu.
T cilt kishin marr urdhn nga ti.
Asnj mashkull t mos e linin t gjall nga ajo trev.
Hej, asnj mashkull t mos e lini t gjall nga ajo trev.
Hej asnj mashkull t mos e lini t gjall, hej...
Nna: Nusja e shtangun nga frika prpiqej ta qetsoj foshnjen.
Kori i nnave: Por kot. Kot. Por kot. Kot, kot, kot...
Nna: Nana e tij, nuk ka ngran gja qe shtat dit.
Dhe nuk ka qumsht ta ushqej, ju thash.
Kori i nnave: Njani nga ushtart e tu, Njani nga ushtart e
tu, nga ushtart e tu.
Nna: Ia rrmbeu nuses foshnjn nga duart.
Preu mishin nga gjymtyrt e foshnjs.
E hodhi n ujin q po vlonte.
Pastaj...
Kori i nnave: Pastaj, na detyroi me radh t hanim. Na
detyroj t hanim.
Hej m detyroi t ha mishin e fmiut tim. Hej...
Nna Djalin e vogl nuk e vran. E lan t gjall.
Kori i nnave: Ta shihnim m syt tan tek prplitej n
agoni pr t jetue.
Nna: Ti ishe ai q dhe urdhn. ( Nnat i vrsulen diktatorit )
43

Kori i nnave: Ti ishe ai q dhe urdhn, Ti ishe ai q dhe

urdhn. Ti ishe ai...
Nna: Asnj mashkull nga ai fshat t mos lihet i gjall.
Djali: Un nuk kam dhn nj urdhr t till.
Kori i nnave: Gnjen. Gnjen gnjeshtar. Gnjen.
Nna: Ti ishe ai q dhe urdhn.
T gjith meshkujt e atij fshati t vriten,
Kori i nnave: Ndrsa grat t nderohen.
Nna: Pas gjith asaj q bt.
Mua plak ma pret gjuhn.
Q t mos mund t rrfej tmerrin q pash.
Mi nxort syt q t mos mund t shihja ma.
Sot, ndrrova jet. Gjaja e par q krkova. Ishte t
takohesha me ty.
( Nna plak niset drejt diktatorit, palt e pelerins s
bardh fillojn t shpalosen bashk me hapat e saj. Me
shpalosjen e shallit n sfond shfaqet figura e nns biologjike
e cila nn petkun e nns kosovare, ia kishte shqiptuar
dnimin djalit t saj, pr t bmat. Demistifikimi i figurs s
saj vjen si form e turprimit t saj pr t bmat e fmijs t
saj ).
T t pshtyja n fytyr.
( Grat e Korit epshtyn diktatori ).
T ti nxirrja t dy syt, me gishtrinjt e mi.
44

( Nj vajz e re i sulet ia ngul gishtrinjt n sy

derisa e verbon ).
Ti vja n zgavrat e mia, dhe ta shihja nj her.
Si duket bota, nga syt e nj krimineli si ti.
I mallkuem...
Kori i grave: I mallkuem. I mallkuem. I mallkuem. I
mallkuem. I mallkuem.
Nna: Mallkuem qofsh.
Ma shkatrrove familjen dhe nderin.
I mallkuem.

45

TABLO -V( Shihet diktatori duke u prsiatur nn ethe. Tashm ai

ka marr formn e nj fmije t shkret e t vobekt ).
Djali: Nan m fal, m fal nan ...

Nna: Un nuk jam nana jote.

Djali: Nan, ke pak mshir ndaj meje.
Nna: Si mundesh mi than nan, asaj q ja vrave fmijt?
Vetm se nuk e lshoj pragun e shtpis.
Si mundesh me i than nan, asaj q ja nderove vajzn dhe
nusen?
Djali: Ki mshir nan.
Nna: Tash krkon mshir!
Shfrytzon, ndjesin time prej nane.
Dhe merr guximin me m than nan.
Ti je i dobt.
Kori i grave: Ti je i dobt. Ti je i dobt, i dobt, i dobt, i
dobt. Ti je i dobt.
Nna: Ti asnjher nuk krkove falje, pr ato q bane.
Asnjher nuk u pendove.
Kori i nnave: Prse nuk u pendove? Prse nuk u
pendove? Prse nuk u pendove?
Ti kurr nuk u pendove! Ti kurr nuk u pendove! Ti kurr
nuk u pendove!
Prse kurr nuk u pendove?
46

Nna: Ti akoma nuk po krkon falje pr ato q bane.

Djali: M fal nan, m fal.
Un po digjem, un po shkrihem.
T lutem m shtrngo.
( Fillon t dgjohet nj er e ftoht e that. Skena
prshkohet nga nj drit e kaltr. Shihet djali duke u dridhur
nga t ftohtit ndrsa ).
Djali: Nan, ti je nana ime.
Nna: Kurr... Mos qofsha nan. Si nana jote.
Un fmijt e mi i rrita dhe i edukova me dashunin e nans.
Nuk i lash n duart e huaja. Nuk i lash t mi edukoj bota, koha
Djali: (Me admirim)
Vrtet ti je nj nan krejt ndryshe.
T lutem m thuaj cila nan je ti.
Nna: Un jam thjesht nj nan.
Kori i nnave: Nj nan, nj nan, un jam thjesht nj nan,
nj nan.
( Grat e korit i afrohen nns kosovare t veshur me
fut dhe fillojn t veshin me pelerinn e bardh. Dhe kshtu
ngadal njra pas tjetrs largohen nga skena) .
U mundova me t gjykue me mshirn e nans.
Edhe ti je njeri, edhe ti ke prindr, nuk ke faj q i bart
mkatet e tyne.
Njerzit jan mkatar. Por ti kurr nuk u pendove.
Kori i nnave: Ti nuk u pendove! Kurr nuk u pendove! Pse
nuk u pendove?

47

Ti kurr nuk u pendove! Pse nuk u pendove? Kurr nuk u

pendove!
Djali: Nn ku po shkon?
Nna: T takohem me familjen teme
( Nna kosovare bashk me korin e nnave zhduken ne
gjysm errsir.
Djali: A mund t vij edhe un me ty?
A mund t jem edhe un pjes e familjes sate?
T paktn ta prjetoj njher se si jetohet me nn dhe baba.
Me vllezr dhe motra. T gjith s bashku.
( N sken tashm ka mbetur diktatori dhe nna
biologjike ).
Nna : Jo, ti duhet t rrish ktu.
Djali: T paktn m thuaj.
A ka prfunduar gjykimi im?
A sht kjo sht e tra nn?
Nna: Jo. Gjykimi yt do t zgjas prgjithmon.
Djali: E ka do t ndodh tash?
Nna: Tash do t vin nnat e gjith bots.
Secila prej tyre do t t gjykoj.
Por jo ma me mshirn e nans.
Djali: Po pastaj?
Kori i nnave: ( Nga jasht )
48

Pastaj do t vin etrit.

Do t vijn fmijt nga e gjith bota.
Do t vijn vllezrit, motrat, gjyshet e gjyshrit.
Nga njeriu i par e deri te i fundit.
Djali: Po un nuk kam vrar njerzit e gjith bots nn.
Nna: Eh biro.
Po e lndove nj nn, ke lnduar nnat e bots.
Po e lndove nj fmij, ke lnduar fmijt e bots.
Njerzit jan t barabart para Zotit.
E Zoti. Zoti sht i mshirshm.
Kjo m bn t shpresoj.
Do t ishte shum m e leht t t vrisja.
Por, un t linda. T linda q ti t jetoje. T bje gjra t mira.
Ti u bre vrass i liris.
Djali: Prse nuk mi ke msuar m hert t gjitha kto nn?
Nna: As nna ime nuk m msoj asgj nga gjith kto q t'i
thash.
Kto mi msoj jeta pas vdekjes. Kjo sht arsyeja prse po
vuaj.
Djali: A do t ken fund kto vuajtje ndonjher nn?
Nna: Ktu koha sht e pa fund.
Ajo ka br vetvrasje.
Eh ne njerzit.
Jetojm bashk, gjykohemi ve e ve.
(Nga jasht dgjohen zra t dy ndjejn trishtim ).
Nna: Tani m duhet t shkoj.

49

Djali: far po ndodh?

Nna: Jasht po presin nnat tjera.
A i dgjon se si po thrrasin?
Djali: Po i dgjoj. Si nuk po i dgjoj.
Ato po thrrasin emrin tim.
( Nna largohet pa ndjeshm dgjohet vetm zri i saj )
Nn. A t shpresoj se ndonjher, vuajtjet tona do t
mbarojn?
Nna: Shpresa nuk vdes kurr.
Djali: ka do t ndodh tash nn?
ka po na pret?
Nna: Nata e gjat dhe ftoht e varrit.

50

TABLO - VI ( Skenn e ndrion nj drit e kaltr dhe e prshkon

nj er e ftoht )
Djali: Nn mos ik, mos shko. Ti prap po m le t vetm.
Mos m braktis, m merr n gji nn, un po ngrij nn.
Nn, nuk mund t duroj m.
Ju t mallkuar, mos ma prekni trupin mosni.
Mos m varrosni, nuk dua t m varrosni.
Hej ti, djali im.
Grua, hape testamentin hape dhe lexoje.
sht e drejt e imja, vetm kt gj krkova nga ju.
Edhe kt po ma mohoni.
Jo, nuk dua t m mbyllni n varr. Nuk dua.
Un kam krkuar q trupin t ma digjni t ma bni hi.
Pastaj hirin t ma shprndani npr qiellin e Jugosllavis.
Mosni, mosni, mos m mbyllni n varr.
sht urdhr, nuk sht krkes.
A dgjoni, sht urdhr nuk sht krkes!
Hej ti varrmihs, a e din ti se kush jam un?
Kthehu dhe m dgjo! A m dgjon, hej ti si e pate emrin?
Ja, ja, tek po vijn truprojat e mia. Dgjoni, dgjomni, hej
juve po ju them!
A nuk m shihni? Po ju urdhroj.
ka sht gjith kjo errsir mos m mbuloni, mosni.
Un po shkrihem. Un po ngrij. Un po digjem.
ka sht ky gjarpr i zi q po m afrohet?
Mos m shtrngo!
ka sht ky libr. Refuzoj t kem shkruar n kt libr.
Ky nuk sht nnshkrimi im, dikush e ka falsifikuar!
Refuzoj ta kem nnshkruar nj gj t till. Nuk pranoj.
( Shihet dora e djatht e cila lviz pa vetdije dhe i
del para fytyrs. Dshmojn duart tij kundr tij. Dshmojn
51

kmbt tij kundr tij. Dshmon goja e tij kundr tij zri i tij
dgjohet n narracion ).
Dshmoi, se un kam br gjith kto nnshkrime me urdhrin
e tuaj.
Ti m ke urdhruar ta mbaja telefonin derisa jepje urdhrat. Ti
m ke detyruar t nnshkruaj. Ti na ke detyruar t ecim.Ti m
ke detyruar t flas. M ke detyruar t jap urdhra. M ke
detyruar t gnjej. Prse tash po vuajm pr shkakun tnd?

52

TABLO - VII ( Diktatori n prplitje me gjymtyrt e tij, me t dy

duart e kap maskn dhe e heq nga fytyra. Ai e sheh fytyrn tij
reale, ndrsa publiku e shohin fytyrn aktorit i cili me maskn
e diktatorit, n mnyr shum njerzore jep mesazhin e fundit
).
Djali: Kmbzbathur ecim, lm gjurm npr koh.
Gjurmt q i l koha. Koha do ti shlyej kurdoher.
Por ka disa gjurm, gjurm a vrag t shpirtit.
Q nuk i shkrin as llava e vullkanit q buron nga fundi i
ferrit.
Ka disa gjurm t ftohta akull, q nuk i shkrin asnj koh.
O njerz. O vllezrit e mi. Kujdes nga gjurmt tuaja.
Mos u armiqsoni mes vete.
Mos u miqsoni me djallin, armikun tuaj.
Qllimi i tij sht t'ju shpie n ferr.
Gjykimi i bots s prtejme ekziston.
Ekziston edhe libri ku gjithka q bjm, shkruhet.
Edhe vendi ku dalin n shesh t fshehtat.
Llogaritja sht e pashmangshme. Kjo sht dshmi e
Krijuesit.
T gjith do t dalim para Tij pr t dhn llogari.
Kujdes nga gjurmt tuaja.
(Nga jasht dgjohet zri i nns)
Nna: Vazhdojm.
Djali: Deri kur.
Nna: Deri n prcaktimin e ri.

53

( Dgjohen thirrjet e nnave diktatori niset drejt karriges e

cila shndrrohet n karrige zjarri. Aktori kthehet privatisht
nga publiku dhe pyet )
A po e lm me kaq?
( Dikush nga publiku )
Po, po mjafton pr sot!

Fund
54

Author
SOKOL PLAKOLLI

THE HOT CHAIR

(JUDGEMENT IN THE HEREAFTER)
boy and mother

December 2015
55

SCENE - I (The images of mothers with a cold and shivering look

who are positioned on both sides of the audience and their
unarticulated voices as a call of our sleeping conscience are
the first contact between the audience and the play.
There are sounds combined by the anthems of US Army
and Russian Army while an empty space shows up. At the
centre there is an unusual chair made of glass. This chair
seems to be an armchair made of gold but which continuously
changes the shape according to the situations which escalate
during the play.. There are two nurses which bring some
tools in a wheelchair. They approach the chair which is
placed in the centre where the dictator lies, seemingly dead.
They start to prepare the tools and then begin to massage him
during the news broadcast. They exercise different physiotherapeutic and relaxation treatments. The communication
between the dictator and the nurses is of special nature and
with a unique language which is almost impossible to
understand... Meanwhile, they start to put on him a costume
which is made of pieces which are put into his body without
him being woken up from the chair.
Video of the news broadcast).

Dear listeners, you are now with the midnight news.

Speaker: Today on the 11 March 2006 at 09:30 the former
President of Former Yugoslavia has died. The news is also
officially confirmed by the authorities of the Hague Tribunal.
Based on the information available so far it is said that his
death was natural. On 22 February he had stated that he was
not able to continue to face the witnesses. Whilst on 24
February his demand to be sent to Russia for treatment was
rejected.
56

Speaker: The Head Prosecutor of the Hague Tribunal Ms.

Carla del Ponte expressed her regret for his death: This death
has prevented the Tribunal to put the justice in place for the
victims he had caused she said.
Boy: Hahaha (He stands up laughing).
He is dead! Do the dead drink? Hahaha.
Speaker: The former President of Former Yugoslavia was
afraid that he would be poisoned. This is what we learned in
the Hague today from his lawyer. The forensic team from
Serbia will be present during the autopsy of his body. The
decision was made by the Hague Tribunal. Next, we will hear
from prominent world personalities regarding the event.
Speaker: Bill Clinton said: I am happy that the United
States has led the Coalition which stopped the campaigns of
ethnic cleansings in Bosnia and Kosovo. I am sorry that his
trial couldnt be finished. He never admitted the crimes he had
committed and he never did apologise.
The American State Secretary Ms. Condoleezza Rice said
that: for a long time in Europe such a bad person did not
exist, as she called him, Butcher of the Balkans". When asked
will the USA send a representative in his funeral, she said
that no one had not even though about such thing as a
representation of the US Government.
Boy: Ha, ha, ha, ha, ha, ha, its a lie, everything in this world
is a lie. The best liar is the one whose lie endures the most.
General Wesley Clark said that the death of Slobodan
Miloevi denies the victims to see justice being put in place
and on the other hand helps his country to avoid facing the
truth. He was a monster like Stalin and Hitler.
57

His actions have caused the death of over 300000 people in

Europe, four wars and instability in the Southeast
Europe, said Ambassador Richard Holbrook.
Boy: Ha, ha, ha, ha. In the false world everything is a lie.
Did I say this? Ha, ha, ha... What does this mean?
Like if someone in the false world whispered these words into
my ears.
Speaker: Live from Hague. The Tribunal authorities say
that there are no signs that the person in question is murdered
or has committed suicide. The cause of his death is purely
natural. For other details you will be informed after the
autopsy.
Boy: This is a true lie. Ha, ha, ha, ha. This is a true lie..
Oh, a true lie..... And I said this?! Strange!
Speaker: The Foreign Minister of France said that the former
President of Former Yugoslavia was the main architect of
Balkan wars and ethnic cleansings which resulted with
thousands being killed. His death represents the removal from
the scene of one of the main actors of Balkan wars.
Boy: Balkan wars will never end. There have always been and
there will always be wars.
Speaker: The Leader of Bosnia and Herzegovina Sulejman
Tihi said: For the sake of victims and for the sake of truth
and justice it would better if he had lived to the end of his
trial.
Boy: You little mouse. You were hiding in the toilet wholes.
Now you have the pleasure to speak out.
58

Speaker: In Belgrade, The Socialist Party said that the death

of the former President of Serbia and Montenegro was a great
loss" for Serbia. It is important for the future of the country
that he was not found guilty. He managed to protect the
national and state interests, said the head of the party, Ivica
Dai.
Boy: Shut up you ant. You know very well that I am alive. I
am alive I am alive and even drinking. The politics is
consumed, the politics finished up even your drink.
Speaker: The General from Kosova Mr. Agim eku, a
participant in several wars in former Yugoslavia has
commented on the death of the former Yugoslav president
saying that the current political class in Serbia should
demonstrate criticism towards the conflictual past which has
produced a series of wars in the territory of former
Yugoslavia.
Boy: You miserable bold reptile! If it werent for these wars
you would be unemployed.
Speaker: The death in the prison cell of the Butcher of
Balkans, the man who caused the greatest dramas in the
history of Bosnians, Albanians, Croats and Slovenes including
even Serbs, Montenegrins and peoples of Vojvodina which
were victimised in the wars of Former Yugoslavia, as an
aggressor, is an unexpected news for the families of hundreds
of thousands of victims who were impatiently waiting the
Tribunals verdict which was to be made. But, God will give
him the deserved punishment, said Salih Berisha.
Boy: Jebo te Bog, jebo te. (heavy swearword in Serbian) Ha,
ha, ha, hmmmmm the Albanian politician with an exhausted
voice, buys this stuff easily.
59

Speaker: Whilst from Kosovo we did not hear yet any official
response regarding this issue.
Speaker: The Russian Diplomacy expressed their regret that
the Hague Tribunal did not accept the demand of the former
Yugoslav President at the end of February, to be cured in
Russia. The family of the former Yugoslav President accused
the Hague Tribunal today from Moscow blaming it with full
responsibility for his death.
Speaker: His wife Mirjana accuses the Hague Tribunal for
the death of his husband. The Court killed my husband, said
from Moscow for CNN the woman who during the 1990s
was considered as the inspirer of the nationalist politics
undertaken by her husband in the Balkans.
Boy: Politics is a whore politicians are whores its sounds
wonderful.
Speaker: The next witness to be faced with Slobodan
Miloevi in the Hague Tribunal was a mother from Kosova.
Heres what she said when she got the news on his death.
Kosovar mother: He destroyed my family.
He dishonoured (raped) my daughter in front of everybody.
He killed my five sons and my husband.
He slaughtered my only grandson in front of us...(cries are
heard).
He pulled the baby out of her mothers womb.
He destroyed my family (old woman groaning).
I would like to face him. To tell him in front of the whole
world that he pulled off my eyes and he cut me tongue so I
couldnt speak.

60

I would have liked to spit him in the face before he died but
hes now dead.
All I can do now is to wait for the Judgement in the Hereafter.
(Like being possessed, he gets his handgun and shoots several
times towards the radio transistor where the voice of the
Kosovar mother was coming from. Some strange-abstract
sounds keep coming from the broken radio).

SCENE -II-

61

(From the same spot which the dictator was shooting with his
handgun because of the voice of the Kosovar mother, the
silhouette of a woman appears. The boy keeps staring his eyes
towards her).
Boy: Who are you? I said, who are you?
(The silhouette of the woman approaches slowly. The boy
being scared, points his handgun towards her and shoots her.
The empty handgun remains in his hand whilst the silhouette
of the woman continues to walk towards him. He remains
numb. She removes the gun from his hand slowly and begins
to caress his hands).
Mother: My boy, o my boy, my little dear boy. When will
you have enough blood?
Tell me, didnt you have enough blood from your brothers
and sisters!
All those killings and now you want to kill your mother as
well.
Boy: Who are you to talk to me about a mother?
Mother: I am the mother.
Boy: What mother?
Mother: Your mother.
Boy: You.... you are not my mother.
(She removes the black veil and her image shows up totally
resembling with his biological mother).

62

Mother: Whether you were born by me or not, you were

born with Cains (Kabil) sign in the neck.
Boy: You are not my mother.
But when you speak, when you look, when you touch, youre
just like her.
Yes..... You are her. Youre my mother.
No...... No. It cannot be.
My mother does not live anymore, she has died long ago.
Mother: Yes, she has died long time ago.
Boy: Then, how can you be my mother when she is dead?
Mother: I am mother death. The one that takes people from
this world into the hereafter.
Boy: Ha, ha, ha. Fairy tales!
The one that takes people from this world into the Hereafter!
I dont believe in the hereafter.
Mother: I know. I know that you dont believe. Otherwise
you wouldnt do what you did.
Believe it or not, like it or not, death and the Hereafter do
exist, and so does their Creator.
By His order, give me back the gift you got when you were
born.
(She returns the hat and stretches the hands towards the sky
whilst he hides his hands as a sign of fear).
Boy: What? No. No. No way. Never.
Mother: With or without your consent.
Boy: No.

63

Mother: You kept it long enough.

Boy: No, no I dont want to.
Mother: You abused it long enough.
Boy: I dont accept.
Mother: You had enough pleasure.
Boy: Enough.
(She grabs his hand and starts to whiplash him whilst
continuing the dialogue)
Mother: The soul that was given to you (She whiplashes
him).
Boy: Hey, you hit me enough.
Mother: The time between birth and death.
Boy: Hey, heeey. (Calls but no one responds).
Mother: The position.
Boy: You whore.
Mother: The power, the wealth. You abused it all.
Boy: You dirty whore. My trial ended yesterday.
Mother: And your family (She whiplashes him) and
friends (She whiplashes him).
Collaborators.
64

Boy: You are mad.

Mother: Simple people who loved you. You abused them.
You shall be accountable for all.
They will testify against you.
Boy: Why does this game have to be played with me? I am
free now.
The Plan has worked very well. Everybody accepted my false
death.
My enemies and my friends.
Mother: You have no friends, nobody loves you.They flirt
with you out of fear.
(She begins to caress him with the fiery whip until she
deceives him and grabs his head. Then she lifts the hands and
puts them down quickly. The boy remains in the chair, as
frozen, which then turns into an armchair which slowly
becomes like an ember. Shivering voices are heard from the
background and the silhouettes of the women start to appear
entering the stage slowly and simultaneously. They approach
the boy and take him into their hands whilst mother death
leaves them slowly. They strip him and put prisoners clothes
on him, and then they make him sit in the chair. Then slowly
and discretely they return in the background and amongst
them they get his biological mother and push her towards the
son whilst they disappear in the background).

65

SCENE -III(The biological mother approaches the dictator and calls him)
Mother: Wake up, come on wake up. Wake up I said.
(The boy does not move whilst the mother takes his mask off
him and hits him in the face with it. He wakes up).
Mother: This is my boy. This is what my boy is like.
Boy: Where am I... where am I?
Mother: In the Hereafter, my boy.
Boy: Mom, is it you mom?
Mother: Yes dear. Its me.
(The mother takes off the scarf from her head. The boy is
stunned. He looks at his mother with a fragile child-like face.)
Boy: Mom, you are alive?
Mother: No, no its..
(The boy embraces his mother with a child-like love. He hugs
her and caresses her chicks, looks into her eyes, whilst she
does not move).
Boy: Of course.
You are speaking mom.
I am dreaming or.. (He touches and caresses her).
Mom, I have missed you so much!!
I cant believe that we really met.
You are alive, Mom.
(He kisses and caresses her. They look each other in the eyes,
the approach each other before kissing. All of a sudden, the
66

mother pushes him with both hands making him fall into the
ground. He begins to cry like a poor unfortunate child).
Boy: Why did you push me, you use to hug mealways.
Mother: Because you disappointed me!
Boy: I disappointed you?!
Didnt I continue your path?
The ideals that you taught me.
(And he gets closer to hug her. The mother takes his hand and
puts him in the rolling chair in the pyramid form and leaves
him there. The boy looks like he is nailed into the
chair. He tries to stand up but cannot move, as if he is glued
to the chair).
Boy: Where am I?
Mother: In the place where secrets are revealed. You are
dead.
Boy: I am not dead!
Mother: You are now in the Hereafter, be silent and listen.
Boy: I am not dead. I dont want to listen, I want to leave.
Mother: Then go if you can. (The boy tries to stand up but
cannot move).
Boy: How did I get here, ouuu ?
Who brought me here, iiih ?
Why did you bring me here?
Mother: Nobody can bring you here but an Order which
cannot be drawn back.
67

Boy: Why am I here?

Mother: For your trial.
Boy: What for?
Mother: For the killing of your brothers and sisters. For all
victims, one by one.
Boy: But I did (not) kill. I...
(The boy cannot speak. He moves his lips but there are no
words coming out of him. He keeps staring his eyes while
trying to speak but no words can be heard).
Mother: Different laws are here, its not like (up) there where
a man can lie.
There one can kill and rape and the next day put a mask on the
face.
And then pretend to be like a saviour angel.
No, my son, this is the place where secrets are revealed.
The LIE here is just a notion based on which we undergo the
trial.
Boy: Why am I being tried? I havent done anything wrong!
Let me go
(He moves his lips but there are no words coming out of him
until he looks very upset).
Mother: My boy, I understand your efforts. I went through
the same thing when I was trying to lie and denounce that you
were my son. My lips were moving but no words were
coming out except when I was telling the truth.
My son, we both lied and cheated ourselves and this will of
ours brought us here in this place.
68

Liars are damned therefore we are suffering.

(The boy struggles to release himself from the chair but he
cannot. Unarticulated voices are heard and an unclear
atmosphere which brings a tense situation to the characters.
The boy is staring like he is seeing something terrifying whilst
the mother is astound. Both are looking up at the same point.
The words in brackets are said but not heard).
Boy: My childhood, my life.
I am (not) guilty.
I am a child and children are innocent.
Mother, you taught me how to lie.
Mother: And my dad had taught me to lie to my mother like
we were just having fun
Boy: My childhood.... My childhood....., My childhood...
(Words from both are mixed)
Mother: My childhood..... My childhood.
My childhood where for a moment I experienced pleasure.
Father stretched his hands and gave me a big hug, with great
passion.
Mother saw us like that, she was terrified and then hit him on
the face.
Then they had a conversation secretly and afterwards sent me
to the orphanage.
They turned their back on me, they denied me.
Now they are burning.
They are being punished for abandoning me.
They use to have faith, but then they went astray. They forgot
about God.

69

(While the mother was telling about her childhood, the boy is
struggling and struggling and repeating the words of her
mother but no voice was coming out of him, whilst the mother
feels well in the beginning but shes increasingly scared).
Boy: My childhood, mother, my childhood.
You were then holding me every day.
You made me lie, you taught me how to lie.
Because of you we are now suffering.
My right side, my right side is disappearing.
My right side, my right side is totally lost, gone.
Fire, fire is coming from all sides. Cant you see mother?
Dont hold me, dont hold me. You are choking me.
(They are unconsciously holding each other tightly almost
choking each other. They are looking each other. The
nostalgic mother is crying whilst the boy is numb as if he was
a statue. Out of fear they both repeat the same words).
Mother: My right side, my right side is disappearing.
So quickly, it decomposed, so quickly it disappeared.
Boy: The devastating fire is coming from all sides.
Mother: The left side, its a horror. O my God. Its a horror.
Boy: I am in the middle of the flame.
Mother: In the middle of the red flame my red hair showed
up.
My youth. I was a handsome girl with a beautiful and melodic
voice singing in the chorus.
(In off a chorus is heard, mother and the boy are following
it with a low tone of voice).

70

Hej, Sloveni jo ste ivi

Rije naih djedova,
Dok za narod srce bije
Njihovih sinova
ivi, ivi, duh slovenski
ivjee vijekov'ma,
Zalud prijeti ponor pakla,
Zalud vatra groma
Nek' se sada I nad nama
Burom sve raznese,
Stjena puca dub se lama,
Zemlja nek' se trese
Mi stojimo postojano
Kano kliruine,
Proklet bio izdajica
Svoje domovine
Boy: You are again holding me to tight.
Mother: My father also used to hold me to tight, once upon a
time.
Boy: Like you are holding me, mother?
Mother: Yes.
Boy: I dont believe you anymore!
Even then when you promised that you would never leave me,
you ran away and left me.
Mother: My parents left me in the orphanage as well.
And they never came back to get me. Than it happened what
it happened.
Boy: You liar, you wanted to have fun with them.

71

You wanted to become a famous singer.

You wanted a luxurious life.
Mother: No, they took me out of the chorus.
They brought me those damn clothes and taught me those
songs.
I had to entertain them. They promised me heaven but I found
hell instead.
Boy: Than you have no right to accuse me.
I was also forced by them.. to kill.
They promised me heaven just like they promised you
therefore I am innocent.
Mother: Shut up you damned (She hits him with both hands).
Id be damned that I gave birth to you.
If it werent for you, Id be out of here someday.

Boy: Damn you for giving birth to me.

You brought me to this wild world without asking me.
You raped me, you taught me to lie.
Then you killed yourself to get away with it.
You abandoned me, you left me without parental love.
Mother: I couldnt stand it anymore. I kept having the same
dream every night.
Like the child I gave birth to, was turning into a snake which
was swallowing us all.
Boy: And you committed suicide because of one dream?
No, you killed me because you were losing your fame.
And you couldnt live like a common woman raising her
children. This is ...

72

Mother: Shut up you dirty little.

That snake was you.
I should have killed you. This way I would save myself and
the world.
Heyyy, damn you, all of you that made me give birth.
Boy: There they are. They are burning in the flames of each
other. There am I as well.
You will burn forever, from Marshal to the lousy soldiers that
ruined my body.
Because of you I killed my body to set free the imprisoned
spirit.
I am burning within.
Boy: I am burning also.
I have fever and I am freezing.
Cant you see that I am burning over there?
I am also among those ones burning.
Mother: I can see you, of course I do.
I can see you all.
There are you, the dictators of all times.
Also the other ones that made me entertain them.
Now I can see them with my eyes how they are melting in the
fire lightened by stones and their bodies.
Boy: May they be damned.
Mother: We are all damned and lost.
Boy: So are you.
(They detach from the situation which is created, like they are
watching the event "as on TV")
Mother: Yes, me as well.
73

I should have refused. I should have committed suicide at the

beginning.
But no, I liked it. I lived as in heaven but the worldly heaven
is very short.
My young body, my sweet voice, the scent of my hair.
was seducing the ''VIPs'' of that time.
Everybody wanted to have me.
This was an honour for me.
Boy: I was also an orphan.
You never told me who my father was.
Every time I would ask you about him, you hugged me, kissed
me, holded me tight saying that I grew up without a father.
So, I grew up as an orphan as well.
Mother: I swear that I was innocent.
I was an abandoned child.
A poor orphan.
I had the honour that evening that the Marshal was after me.
This opened the way for the others (until I became like a piece
of cloth).
The last one was he, a crazy drunk.
The ranks that he had won in the National Liberation War
were taken back from him.
He used to sleep in the horse stable and cleaning the toilets of
the military barracks for a pack of cigarettes. He was stinking
heavily.
The first thing that came across my mind was to commit
suicide before I would stand to let him get on me.
(The whole situation changes from the previous like waking
up from a nightmare and the man is happy to see that it was
just a dream. The dictator stands up from the chair and
approaches the mother. His real face can be seen and the
mask in the profile).
74

Boy: I didnt understand anything what you said lady!

I want you to leave me alone. I have no time for such things.
If I have killed, I have killed to protect the interests of my
nation.
You have promised me yourself that after the destruction of
Yugoslavia I will live a luxurious life.
I have accomplished the mission you ordered me, in an
excellent way.
Now I should start living, I should start living my life.
I am retired now, and deserve to be left alone.
On the contrary, I will go public in front of all the media and
make public all your dirty stuff including my dirty stuff.
(The Mother pushes him and makes him sit again in the chair.
Then she gets back to him with love)
Mother: I would also like to leave.
I would like the time to pass.
But no, down here the time never passes, its endless.
Neither the fire set beneath you will ever go away.
Neither the fire set within me will ever go away.
Cant you see, cant you feel?
You are dead, you are in hell. We are all lost forever.

(The boy is trying to move from the chair like something is

burning him but he is not able to move).
Boy: You are crazy, dead people do not speak!And, I dont
believe in death, and in hell or the hereafter. I want to get out
of here. What is this strange chair which is burning me like it
was an electric chair?
Mother: Your stay in that fiery chair is permanent.
75

It is the chair which you have abused.

Because of the lust you had for her, you denied God.
The chair became your go.
Boy: Like did fame for you.
Mother: You didnt care about anything anymore, except for
the order of those who enabled your stay in power.
Boy: Just like you went to bed with those who made you
famous.
Mother: I never killed anyone.
Boy: You killed yourself.
Mother: You killed the whole world, to stay in that chair.
From there you were giving orders for massacres and
bombing.
It is the court chair were you escaped from secretly.
The throne which you loved so much now its yours.
You little prick, instead of exterminating the Kosovars, you
killed your sisters and brothers. You are the one that ruined
the century-old dream of your nation for the cleansing of
Kosova from Albanians.
You are the one that failed the "horseshoe" plan.
You are the one that failed the Serbian Academy in front of
Albanian illiterates.
Now, you dare to speak with pride.
Boy: You are the most unpleasant person that I have met in
my carrier.
You are masked like my mother and you are playing with my
feelings.

76

What you are doing is treason.

You should have left me in the Hague Tribunal rather than
bring me here for this experiment.
I did not deserve this.
Traitors, promise-breakers!
I dont want to deal with you.
Mother: Then, deal with yourself.
(Mother starts to leave and disappears in darkness. The boy
stand up from the chair and follows her, then remains in
dark).
Boy: Hey, Hey... Hey, hey. Who is that drunk?
And the Marshal whom you mentioned earlier?
Can you explain me?
(Mother appears sitting in the chair)
Mother: With Marshal I had the first-born child.
I was very young when I got pregnant. I did not want to
abort.
I did not want to become a murderer.
A murderer of my child.
I gave birth (I delivered).
I gave birth and abandoned it likewise my parents had
abandoned me.
The second one was a baby-girl. I dont know who her father
was.
I had to go to bed with three high officers of that unit.
I didnt want to leave her. I wanted to dedicate my life to her
but they took her away from me.
I was hurt so much when I stretched my hands full and got
nothing back.
I didnt sing for a year then I gave up.
The Tour was a life-long.
My life became a song of birth and separation.
77

Separations were heart-breaking.

Songs were helping the heart to rise again.
Birth would interrupt the song.
Separations from my children were heart-breaking.
At one point the heart was chopped into pieces and there was
nothing left to be broken any longer.
I never aborted, never killed my children.
My bastards.
This is how a strange family was created.
One woman and her anonymous husbands.
Around, children who do not know each other.
All of them living in the same orphanage.
They loved each other, hated each other, married each other,
they gave birth.
Dad would marry his daughter. Brother would marry the sister
not-knowingly.
A family raised upon wrong ideals with its lady mother on the
top.
The false mother. The Great Lady. The Great Whore. Lady
Yugoslavia.
Boy: Lady, you are mad.
However, there is something true in what you said.
But I am not interested to hear about it.
Therefore, let me go.
I swear that I will not sue you.
At the end, even if wanted to, there is no way for me to do
such a thing.
I am a fugitive.
Everybody thinks I have died.
Thus, I cannot sue you.
Mother: You have escaped life but not death.

78

Boy: So according to you, I am dead.

Good.
Can a dead person speak?
Here, I am speaking.
And I am asking you for the last time.
Who are you and what does this have to do with me?
Everything what you said...
Mother: The disabled general, the drunk with removed ranks
is your father.
Boy: How?
Mother: The ones you killed were your brothers and sisters.
(The boy is stunned from this information, he is confused and
sits in the chair)
Boy: You are really saying that I.... I have killed my brothers
and sisters without knowing.
(He tries to stand from the chair but he cannot)
Mother: When you gave the order to bomb Vukovar town in
Croatia.
There was your brother and his family, Marshals firstborn.
You killed your brother and his family.
Boy: It is not possible. Yet, it might have happened.
(He sits down undeliberately)
Mother: When you gave the order to bomb Dubrovnik.
You killed hundreds of innocent civilians.
Boy: I was forced to undertake such a thing.
They started the aggression towards my nation first,
(The boy is moving his lips but his words are not being heard)
79

Mother: Here, you cannot tell lies. Nor put the blame on the
others.
You started the war in Bosnia and didnt stop until you
reached a hundred thousand.
In Srebrenica you slaughtered your sister and her four boys.
One of them was very little, he could merely say a few
words. He looked just like you.
(The boy is under a lot of stress. He tries to stand up from the
chair again be he cannot. He is suffering without being able
to say anything or move).
So, you killed your brothers and sisters.
I was watching you from here, powerless.
For every kill, my punishment was becoming worse.
When you were killing your brothers and sisters it was easier
for me.
But, when you were killing children, you were also killing
their mothers and they were coming to me to accuse me.
They were accusing me for giving birth to you.
They were spitting me on the face.
They were pouring boiling water on me.
How many times they humiliated me.
How many times they will humiliate me.
Now, they are calling.
I have to go, who knows who is here.
To blame me for something.
(Mothers slowly heads towards the exit. The scene is covered
by a strong red light and abstract sounds)

80

SCENE -IVBoy: What is this book?

I refuse to have written this book.
(He stretches his hands like he is taking a book and soon as
he gets it his reaction is like hes holding a piece of fire which
he cannot get rid of).
Boy: I want to drink.
I am burning.
I cannot stand this anymore.
I am melting.
Dont nail me.
I dont want to be closed in a coffin.
I dont accept.
Why did you lock me in?
You traitors, you didnt even read my will.
You are ignoring my only demand.
I have ordered you to burn my body, and spread the ashes
throughout Yugoslavia.
Mothers chorus:
Buried or burned, crashed or crunched,
Scattered in the waters, air or the mountains.
Youd still be here now.
God would order the air, water or mountains.
And by His order they would collect all your pieces.
None of Gods creatures rejects His order.
Mother: Except us humans.
Therefore we are punished.
(The boy is staring at the mother in a state of confusion).
Boy: Who are you?
81

Mother: I am a mother.
Boy: Which mother?
Mothers chorus: A mother.
Boy: Which mother, I asked you?
(A sound from the flute can be heard, which brings back the
feeling of despair and melancholy)
Mother: A big valley.
Turned into a fireplace.
Bombed from all sides.
People locked while they are still alive.
Burned bodies on the ground looking for a grave.
Locked animals dead from hunger.
Mothers with exhausted breasts.
Babies cries, tired of hunger.
In the middle of the village an old Dardans tower.
My bride and the baby in her lap.
Surrounded by the women of the village.
They have gathered to protect him with their bodies.
The only male found alive in the village.
The door of the tower was broken.
Women were not bothered about themselves but for the boy.
He was the only male voice who remained alive.
Mothers chorus: Why is this child crying?
Your soldiers asked, the ones that got the order from you.
No male was to be left alive in that area .
Mother: The bride stunned of fear was trying to calm down
the baby.

82

Mothers chorus: But couldnt do anything. Anything,

anything, anything, anything.
Mother: His mother did not eat anything in seven days.
Therefore she has no milk to feed the baby, I said.
Mothers chorus: One of your soldiers, your soldiers, your
soldiers.
Mother: Grabbed the baby from his mothers hands.
He cut the babys hands and legs and threw the baby in the
boiling water.
Then...
Mothers chorus: He forced us eat the baby.
Mother: The little boy was not killed. They left him alive.
Mothers chorus: So we could see him with our own eyes
while he was trying, in agony, to survive.
Mother: You were the one who gave the order.
Mothers chorus: No male was to be left alive in that area
.
Boy: I did not give such an order.
(He moves all hands at once)
Mothers chorus: Youre lying. Youre lying. Youre lying.
Liar. Liar. Liar.
Mother: You were the one who gave the order.

83

Mothers chorus: All males in the village to be killed and

women raped.
Mother: After all you did, you cut my tongue off.
So I cannot tell the horror I had seen.
You pulled my eyes of so I couldnt see anymore.
Today I passed away.
The first thing I asked, was to meet you.
(The girl starts walking towards the dictator, escorted by the
mothers chorus)
To spit you in the face.
(she spits on him, then other women spit on him).
To pull both your eyes with my fingers
(The girl puts her fingers in his eyes).
And put them on my eye-holes.
So I could see once more.
What does the world look like through a criminals eyes.
Mothers chorus: Damn you. Damn you. Damn you. Damn
you. Damn you.
Mother: Damn you. Youve destroyed my family and
honour.

84

SCENE -V(The boy is in fever and wandering. Now he has the shape of a
poor child whilst the mother heads towards him fiercely and
stabs the fingers of her right hands in his eyes. The boy makes
a painful squeal).
Boy: Mother forgive me, mother forgive me....
Mother: I am not your mother.
Boy: Mother, have mercy for me.
Mother: How can you call someone a mother whose children
you have killed?
Just because they didnt leave their houses.
How can you call someone a mother whose daughter and
daughter-in law you have raped?
Boy: Have mercy mother.
Mother: Now you ask for mercy!
You are using the sensitivity of a mother.
And you dare calling me a mother.
Mothers chorus: You are weak. You are weak. You are
weak.. weak.. weak.. weak.
You are weak.
Mother: You never apologised for wat you did! You never
repented!
Mothers chorus: Why you never repented? Why you never
repented? Why you never repented? You never repented!
You never repented! You never repented!
85

Why you never repented?

Boy: Forgive me mother, forgive me.
I am burning, I am melting.
Please hold me.
(The sound of a cold and dry wind is coming. The scene is
covered by a blue light. The boy is shivering from cold while
the woman starts to move slowly).
Boy: Mother, you are my mother.
Mother: Never. I wish I never become a mother such as your
mother.
I raised my children and educated them with maternal love.
I didnt leave them in other peoples hands.
I didnt leave them to be educated by the world.
Boy: (Admiring her)
Truly, you are a totally different mother.
Please tell me which mother are you.
Mother: I am just a mother.
Mothers chorus: A mother, a mother, I am just a mother, a
mother.
(Women in the chorus approach and begin to remove the
white scarf from his head. While she speaks, they start to
leave the scene together with the scarf, one by one).
I tried to judge you with the mothers mercy.
You are also a human, you have parents, it is not your fault
that you have to carry their sins.
People are sinners. But you never repented.

86

Mothers chorus: You didnt repent! You never repented!

Why did you not repent?
You never repented! Why did you not repent? You never
repented!
(Mother starts to leave, while the boy tries to move after her
but cannot move)
Boy: Mother, where are you going?
Mother: To meet my family.
Boy: Can I come with you?
Can I be a part of your family?
So I can live to experience at least once what is it like to live
with a mother and father.
With brothers and sisters. All together.
Mother: No, you should stay here.
Boy: At least tell me..
Is my trial over?
Is this all mother?
Mother: No. Your trial will continue forever.
Boy: And what will happen now?
Mothers chorus: Now the mothers from all over the world
will come.
Mother: Each of them will judge you.
Mothers chorus: But not with the mothers mercy anymore.
Boy: And then?
87

Mothers chorus: Then, the fathers from all over the world
will come.
Then, children from all over the world will come.
Then brothers, sisters, grandparents.
From the first to the last one.
Boy: But I didnt kill all the people in the world.
(Now, all women of the chorus with the white sheet have left
the scene.
Only the biological mother and the boy remain).
Mother: My son.
If you hurt a mother, you have hurt all mothers in the world.
If you hurt a child, you have hurt all children in the world.
People are equal in front of God.
But God.
God is Merciful.
This makes me hope.
It would be easier for me to kill you.
I gave you birth so you could live and do good deeds.
And you became a murderer of freedom.
Boy: Why didnt you teach me all this before, mother?
Mother: Neither did my mother teach me any of this.
I learned this in the life after death..
This is the reason why I am suffering.
Boy: Will all this suffering ever end, mother?
Mother: Time here is eternal.
It has committed suicide.
Uh, and us people
88

We live together but we are judged separately.

(Sounds are coming from outside. Both are frightened ...)
Mother: I must leave now.
Boy: What is happening?
Mother: Other mothers are waiting outside.
Can you hear them calling?
Boy: Yes, I hear them.
How can I not hear them?
They are calling my name.
Mother, can I hope that at some point our suffering will end?
Mother: Hope never dies.
Boy: What will happen now mother?
Whats waiting for me?
Mother: A long and cold night in the grave.

89

SCENE -VI(A cold wind is blowing. The scene is covered by a blue light.
The boy begins to shiver from cold.)
Boy: Mother, dont go away. Do not leave me. You are
leaving me again.
Dont abandon me, hold me in your arms, I am freezing
mother.
Mother, I cannot stand this anymore.
Damn you, dont touch my body, dont.
Dont bury me, I dont want you to bury me.
Hey you, my son.
My dear wife, open my will and read it.
This is my right. This is all I asked from you.
And you are denying me this ?!.
No, I dont want to be buried in a
grave.
I do not want to.
I asked you to burn my body.
And then take the ash and spread it all over Yugoslavia.
Dont, dont, dont put me here.
Its an order, not a request.
Can you hear me? Its an order, not a request!
Hey you digger, do you know who I am? Get back and listen
to me!
Do you hear me, hey you what was your name?
There they are, my bodyguards.
Listen to me, listen to me, hey I am talking to you!
Cant you see me?
I am ordering you.
What is all this darkness, dont cover me...
Dont.

90

I am melting.
I am freezing.
I am burning.
What is this black snake approaching me?
Dont touch me!
What is this book? I refuse to have written this book.
This is not my signature, someone has forged it!
I dont admit to have signed such a thing.
I dont accept.
Narration:
(His right hand moves unconsciously and gets in front of his
face).
I testify that I have signed all this as you have ordered me.
You made me hold the phone while you were giving the
orders.
You made me sign.
(His legs testify against him)
You made us walk.
(His mouth testifies against him)
You made me speak.
You made me give orders.
You made me lie.
Why are we now suffering because of you?

91

SCENE - VII(Dictator to squirm in his limbs, with both hands

grasp the mask and remove from the face. He sees the face its
real and the audience see the face actor who in the guise of a
dictator, so humane gives latest ).
Boy: We walk barefoot, we leave traces in time.
Traces in time, sooner or later will be wiped off.
But there are some traces, traces or scars in the spirit that
cannot be melted even by volcano lava coming from the
bottom of Hell.
There are some ice-cold traces that can never be melted.
O people. O my brothers.
Be careful of your traces.
Do not become enemies of each other.
Dont become friends of your enemy, the devil.
His aim is to send you to Hell.
The Judgement in the Hereafter exists, even the book where
everything we do is written.
Also the place where secrets are revealed.
Calculation is unavoidable.
This is a proof from the Creator.
All of us will stand in front of Him to be judged.
Careful with your traces.
(The mothers voice is heard from outside)
Mother: We continue.
Boy: Until when?
Mother: Until a new decree.

92

(We hear cries of mothers dictator just leave the seat which
becomes chair of fire. The actor returns from public and
privately ask)
Is it enough?
(Someone from the audience)
Yes, today is enough!

THE END

93

94

Autor
Sokol Plakolli

VRELA STOLICA
(SUENJE U SLJEDEEM IVOTU)
djeak i majka

Decembar 2015
95

SCENA -I(Slike majki hladnih i drhtajuih pogleda rasporeenih sa

obeju strana gledalaca i sa svojim neartikulisanim glasovima
koji slue kao poziv naoj uspavanoj savjesti predstavljaju
prvi kontakt gledalaca sa predstavom.
uju se i glasovi zajedno sa himnama Amerike i Ruske
armije dok se prikazuje jedan prazan prostor. U sredini toga
prostora nalazi se jedna neobina stolica napravljena od
stakla. Ova stolica izgleda kao fotelja od zlata koja zapravo
kontinuirano mijenja svoj oblik u zavisnosti od situacija koje
se odvijaju tokom predstave. Tu se nalaze dvije medicinske
sestre koje donose neke sprave u invalidskim kolicima. One se
pribliavaju stolici postavljenoj na sredini gdje i diktator lei,
na izgled mrtav. One poinju pripremati spravei zatim ga
masirati tokom prijenosa vijesti. One na njemu primjenjuju
razliite fizioterapeutske i oputajue vjebe. Komunikacija
izmjeu diktatora i medicinskih sestara je posebne prirode i
na posebnom jeziku koji je gotovo nemogue dokuiti... U
meuvremenu, one njemu poinju oblaiti kostim sastavljen
od paradi koje postavljaju u njegovom tijelu, ne probuujui
ga iz stolice.
Video sa prijenosom vijesti).

Dragi sluaoci, pratite vijesti u pono.

Reporter: Danas, 11. marta, 2006. u 09:30 bivi predsjednik
bive Jugoslavije je umro. Vijest je i zvanino potvrena od
strane zvaninika Hakoga Tribunala. Na osnovu trenutno
dostupnih informacija, izjavljuje se da je njegova smrt bila
prirodna. 22. Februara je on izjavio da nije sposoban nastaviti
raspravu sa svjedocima. Dok je 24. februara njegov zahtjev za
njegov premjetaj u Rusiju radi lijeenja odbijen.
96

Reporter: Glavni tuilac Hakog Tribunala G-a Karla del

Ponte je izrazila aljenje povodom njegove smrti. Ova je
smrt sprijeila Tribunal da sprovede pravdu zbog rtvi koje je
on prouzrokovao- rekla je.
Djeak: Hahaha (Ustaje smijeei se).
Mrtav je! Da li mrtvi piju? Hahaha.
Reporter:Bivi predsjednik bive Jugoslavije se plaio da e
biti otrovan. To nam je danas u Hagu saoptio njegov
advokat. Forenziki tim iz Srbije e prisustvovati autopsiji
njegovog tijela. Ovu je odluku donio Haki Tribunal. U
nastavku emo uti istaknute svijetske linosti koje govore o
ovom dogaaju.

Reporter: Bil Klinton je izjavio: Drago mi je da su

Sjedinjene Amerike Drave vodile Koaliciju koja je
zaustavila pohod i pokuaj etnikog ienja u Bosni i na
Kosovu. ao mi je to se ovo suenje nije moglo privjesti
kraju. On nikada nije priznao zloine koje je poinio, niti se je
ikada izvinuo.
Amerika Dravna Tajnica G-a Kondoliza Rajs je izjavila:
Dugi vrijemenski period u Evropi nije postojala tako zla
osoba, ili kako bih ga drugaije nazvala, Balkanski Kolja.
Na pitanje da li e SAD poslati predstavnika na njegovoj
sahrani, rekla je: Niko ni pomislio nije na slanje predstavnika
Vlade SAD-a.
Djeak: Ha, ha, ha, ha, ha, ha, ovo je la, sve na ovome
svijetu jeste la. Najbolji laov je onaj ija se la najdue
odri.
97

General Vesli Klark je izjavio da smrt Slobodana Miloevia

uskrauje rtvama pravo da vide sprovedenu pravdu, a sa
druge strane njegovoj zemlji pomae da izbjegne susret sa
pravdom. On je bio udovite poput Staljina i Hitlera.
Njegove su radnje uzrokovale smrt vie od 300,000 ljudi u
Europi, etiri rata, kao i nestabilnost u Jugoistonoj Europi,
rekao je ambasador Riard Holbruk.
Djeak: Ha, ha, ha, ha. U lanome svijetu sve je la.
Jesam li ja to rekao? Ha, ha, ha... ta to znai?
Kao kad mi neko iz lanog svijeta doapta ove rijei u moje
uho.
Reporter: Uivo iz Haga... Zvaninici Tribunalaizjavljuju da
ne postoje simptomi da je osoba ubijena ili da je poinila
samoubistvo. Uzrok njegove smrti je iskljuivo prirodan. O
ostalim detaljima ete biti informisani nakon to se autopsija
izvri.
Djeak: Ovo je istinita la. Ha, ha, ha, ha. Ovo je istinita la..
Oh, istinita la... I ja sam ovo rekao?! udno!
Reporter: Ministar Inostranih Poslova Francuske izjavio je
da je bivi predsjednik bive Jugoslavije bio glavni planer
ratova na Balkanu i etnikoga ienja to je rezultiralo
hiljadama rtava. Njegova smrt predstavlja uklanjanje sa
scene jednog od glavnih aktera u ratovima na Balkanu.
Djeak: Ratovi na Balkanu nikada nee prestati. Uvjek je bilo
i uvjek e biti ratova.
Reporter: Voa Bosne i Hercegovine Sulejman Tihi je
izjavio: U ime rtava i u ime istine bilo bi bolje kada bi ostao
iv do kraja suenja.

98

Djeak: Ti mali miu. Krio si se po toaletima. A sada ima tu

ast da se tvoj glas uje.
Reporter: U Beogradu, Socijalistika Partija je izjavila da je
smrt biveg predsjednika Srbije iCrne Gore veliki gubitak za
Srbiju. Za budunost zemlje je veoma bitna injenica to to
nije dokazano da je bio kriv. Uspeo je sauvati narodni i
dravni interes, rekao je elnik partije, Ivica Dai.
Djeak: Uuti mrave. Dobro zna da sam ja iv. iv sa, iv
sam i ak i pijem. Politika je istroena, politika je popila ak i
tvoje pie.
Reporter: General sa Kosova G-din Agim eku, uesnik u
nekoliko ratova u bioj Jugoslaviji, komentarisao je smrt
biveg Jugoslovenskog predsjednika izjavljujui da bi
trenutna politika elita u Srbiji trebala kritiki sagledati svoju
konfliktnu prolost koja je proizvela seriju ratova na teritoriji
bive Jugoslavije.
Djeak: Ti jadni reptilu. Da nije bilo ovih ratova ostao bi
nezapoljen.
Reporter: Smrt Balkanskog Koljaa u zatvorskoj eliji,
ovjeka koji je izazvao najvee drame u historiji Bonjaka,
Albanaca, Hrvata, i Slovena, ukljuujui ak i Srbe,
Crnogorce, kao i Vojvoane viktimiziranih u ratovima bive
Jugoslavije koja je bila agresor, je neoekivana vijest za
porodice stotina hiljada rtava koje su nestrpljivo iekivale
presudu koju je Tribunal trebao donijeti. Ali, Bog e mu dati
odgovarajuu kaznu, rekao je Sali Beria.
Djeak: (Uzvikuje teke psovke na Srpskom) Ha, ha, ha,
hmmmmmm Albanski politiar sa istroenim glasom, lahko
prima ovakve stvari.

99

Reporter: Meutim, sa Kosova jo uvjek nismo uli nikakvi

zvanini odgovor.
Reporter: Ruska diplomatija je izrazila aljenje zbog odluke
Hakog Tribunala da krajem Februara ne prihvati zahtjev
bivega Jugoslovenskoga predsjednika da se lei u Rusiji.
Porodica bivega Jugoslovenskoga predsjednika je iz Moskve
optuila Haki Tribunal okrivljujui ga preuzimanjem pune
odgovornosti za njegovu smrt.
Reporter: Njegova supruga Mirjana optuuje Haki Tribunal
za smrt njezinoga supruga. Sud je ubio moga mua, izjavila je
iz Moskve za CNN ena koja se tokom 1990.-ih smatrala
motivatorom nacionalistike politike voene od strane
njezinoga mua na Balkanu.
Djeak: Politika je kurva... politiari su kurve... zvui
predivno.
Reporter: Sljedei svjedok sa kojim se Slobodan Miloevi
trebao suoiti u Hakome Tribunalu trebala je biti jedna majka
sa Kosova. Prijenosimo vam njezinu reakciju na vijesti o
njegovoj smrti.
Majka sa Kosova: Unitio je moju porodicu.
Osramotio (silovao) je moju ker naoigled svih.
Ubio je mojih petero sinova i moga mua.
Zaklao je moga jedinoga unuka pred nama... (uje se pla).
Silom je izvukao bebu iz stomaka svoje majke.
Unitio je moju porodicu (stara ena stenje).
elela bih se susrijesti sa njim. Rei mu naoiled itavoga
svijeta da mi je izvadio oi i da mi je presjekao jezik kako ne
bih mogla govoriti.
elela bih pljunuti mu u lice prije nego je umro, ali je sada
mrtav.

100

Sve to mogu raditi sada jeste ekati na suenje na Sledeem

Svijetu.
(Kao da je opsjednut, on uzima svoj pitolj i ispucava
nekoliko hitaca u pravcu radija odakle se uo glas majke sa
Kosova. Neki udni-abstraktni zvuci se nastavljaju uti iz
rasparanog radija).

101

SCENA -II(Sa istoga mjesta gdje je diktator pucao iz svoga pitolja

nakon to je uo glas majke sa Kosova, pojavljuje se enska
silueta. Djeak ne moe prestati da gleda u nju).
Djeak: Ko si ti? Rekoh, ko si ti?
(enska silueta se polako pribliava. Preplaeni djeak
uperuje pitolj u nju i puca. Prazni pitolj ostaje u njegovoj
ruci dok mu se enska silueta nastavlja pribliavati. On ostaje
ukoen. Ona lagano izvlai pitolj iz njegovih ruku i poinje
ih milovati).
Majka: Moj djeae, o moj djeae, moj mali, dragi djeae.
Kada e ti biti dosta krvi?
Kai mi, zar ti nije dosta krvi tvoje brae i sestara?
Sva ta smrt, a sada eli da ubije i svoju majku.
Djeak: Ko si ti da meni govori o nekoj majci?
Majka: Ja sam majka.
Djeak: ija majka?
Majka: Tvoja majka.
Djeak: Ti... ti nisi moja majka.
(Ona sklanja crni pokriva sa sebe i prikazuje se slika
njezinoga lica koje potpunolii na njegovu bioloku majku).
Majka: bez obzira jesam li te ja rodila ili ne, ali ti si roen sa
Kabilovim (Kainovim) znakom na vratu.
Djeak: Ti nisi moja majka.
Ali kada govori, kada gleda, kada dodiruje, radi to isto
102

kao ona.
Da... ti jesi ona. Ti si moja majka.
Ne... Ne. To nemoe biti.
Moja majka nije iva, ona je davno umrla.
Majka: Jeste, ona je odavno umrla.
Djeak: Kako onda moe biti moja majka kad je ona ve
mrtva.
Majka: Ja sam majka smrt. Ona koja ljude sa ovoga svijeta
vodi u sljedei.
Djeak: Ha, ha, ha. Bajke!
Ona koja ljude sa ovoga svijeta vodi u sljedei svijet!
Ja ne vjerujem u sljedei svijet.
Majka: Znam. Znam da ne vjeruje. Inae ne bi radio ono to
radi. Vjerovao ili ne, svialo ti se to ili ne, smrt i Sljedei
Svijet postoje, a takoe postoji i njihov Stvoritelj.
Njegovim nareenjem, vrati mi poklon koji si dobio onda
kada si roen.
(Ona vraa eir i prua ruke ka nebu dok on krije svoje ruke
kao znak straha.).
Djeak: ta? Ne. Ne. Nikako. Nikad.
Majka: Sa ili bez tvoga pristanka.
Djeak: Ne.
Majka: Dugo si ga imao.
Djeak: Ne, ne, ne elim.
Majka: Dovoljno si ga dugo zloupotrebljavao.
Djeak: Ne prihvatam.
103

Majka: Dovoljno si uivao.

Djeak: Dosta.
(Ona hvata njegovu ruku i poinje ga udarati dok nastavlja sa
dijalogom).
Majka: Dua koja ti je data. (Udara ga).
Djeak: Hej, dovoljno si me udarala.
Majka: Vrijeme izmeu roenja i smrti.
Djeak: Hej, heeej. (Vie ali niko ne odgovara).
Majka: Vlast.
Djeak: Kurvo.
Majka: Silu, bogatstvo. Sve si zloupotrijebio.
Djeak: Ti prljava kurvo. Moje je suenje zavreno jue.
Majka: I tvoju porodicu (Udara ga) i prijatelje (udara ga).
Suradnike.
Djeak: Ti si luda.
Majka: Obine ljude koji su te voljeli. Zloupotrijebio si ih.
Odgovrae za sve. Oni e svjedoiti protiv tebe.
Djeak: Zato se sa mnom moga igrati ova igra? Ja sam
slobodan sada.
Plan je vrlo dobro proao. Svi su prihvatili moju smrt.
Moji neprijatelji i moji prijatelji.
Majka: Ti nema prijatelje, niko te ne voli. Oni flertuju sa
tobom iz straha.
104

(Ona ga poinje maziti uarenim biem sve dok ga nije

prevarila i uhvatila ga za glavu. Onda ona podie ruke i brzo
ih sputa. Djeak ostaje u stolici, zamrznut, koja se potom
pretvara u fotelju i koja polako postaje kao eravica. Drhtujui
glasovi se uju iz pozadine i enske siluete se poinju
pojavljivati, ulazei na scenu polako i istovremeno. One se
priobliavaju djeaku i uzi maju ga u svoje ruke dok ih majka
smrt polako naputa. One ga svlae i oblae mu odjeu
zatvorenika, i onda ga silom stavljaju u stolicu. Onda se one
polako i diskretno vraaju u pozadinu i meu njima dovode
njegovu roenu majku koju guraju ka njezinome sinu dok one
polako iezavaju u pozadini).

105

SCENA -II(Roena majka se pribliava diktatoru i doziva ga)

Majka: Probudi se, doi i probudi se. Probudi se, rekoh.
(Djeak se ne mie dok majka skida sa njega masku i udara
ga njome... On se budi).
Majka: Ovo je moj djeak. Ovakav je moj djeak.
Djeak: Gdje sam ja... gdje sam ja?
Majka: Ovdje si na Slijedeem Svijetu, djeae moj.
Djeak: Mama, jesi li to ti, mama?
Majka: Jeste, edo, to sam ja.
(Majka sklanja mahramu sa svoje glave. Djeak ostaje
zaprepaen. On gleda u svoju majko sa krhkim djetetolikim
licem).
Djeak: Mama, ti si iva?
Majka: Ne, to je...
(Djeak grli svoju majku sa djetetolikom ljubavlju. On je grli i
miluje joj obraz, gleda je u oi dok se ona i ne pomie).
Djeak: Naravno.
Ti pria, mama.
Da li ja to sanjam ili.. (On je dodiruje i miluje).
Mama, tako si mi nedostajala!!
Ne mogu vjerovati da smo se dosita srijeli.
Ti si iva, mama.
(On je ljubi i miluje. Jedan drugome gledaju u oi,
pribliavaju se jedan drugome prije nego to se poljube.

106

Najednom, majka ga gura objema rukama i on pada prema

podu. On poinje plakati kao ubogo i nesreno dijete).
Djeak: Zato si me gurnula, prije si me uvjek grlila.
Majka: Zato to si me razoarao.
Djeak: Ja sam te razoarao?!
Zar nisam nastavio ii tvojim putem?
Idealima kojima si me ti poduila.
(On joj se pribliuje kako bi je zagrlio. Majka ga hvata za
ruku i smjeta ga u invalidskoj stolici u formi piramide i
ostavlja ga tako. Djeak izgleda kao da je prikovan za stolicu.
Pokuava ustati ali se ne moe mai, kao da je za nju
zalepljen).
Djeak: Gdje sam?
Majka: Na mjestu gdje se tajne otkrivaju. Mrtav si.
Djeak: Ja nisam mrtav!
Majka: Ti si ovdje na Sljedeem Svijetu, budi tih i sluaj.
Djeak: Nisam mrtav. Ne elim sluati, elim otii.
Majka: Onda idi ako bude mogao. (Djeak pokuava ustati
ali se ne moe pomai).
Djeak: Kako sa ovdje dospio, ouuuu?
Ko me je ovdje doveo, ihhh?
Zato si me ovdje donijela?
Majka: Niko to ovdje ne moe dovijesti osim Naredbe koja
se ne povlai.
Djeak: Zato sam ovdje?

107

Majka: Zbog tvoga suenja.

Djeak: Zbog ega?
Majka: Zbog ubistva svoje brae i sestara. Za sve rtve, jednu
po jednu.
Djeak: Ali ja (nisam) ubijao. Ja...
(Djeak ne moe govoriti. On mie ustima ali nijedna rije ne
izlazi iz njih. On kola oima dok pokuava govoriti, ali se
nijedna rije ne moe uti).
Majka: Ovdje vladaju drugaiji zakoni, nije kao gore gdje
ovjek moe lagati.
Gdje ovjek moe ubijati i silovati, pa sljedeeg dana staviti
masku na svoje lice.
I onda se pretvarati da je aneo spasitelj.
Ne, sine moj, ovo je mjesto gdje se tajne razotkrivaju.
LA je ovdje samo pojam na osnovu koga nam se sudi.
Djeak: Zbog ega mi se sudi? Nita loe nisam uradio! Pusti
me
(On mie ustima ali se nijedna njegova rije ne uje, pa
postaje uznemiren).
Majka: Djeae moj, razumjem tvoje napore. Prola sam kroz
isto onda kada sam i ja pokuala lagati i rjei da ti nisi moj
sin. Usta su mi se micala ali rijei iz njih nisu izlazile osim
onda kada sam priala istinu.
Sine moj, obojica smo lagali i varali sami sebe, a ta naa volja
nas je ovdje i dovela.
Laljivci su prokleti i s'toga mi patimo.
(Djeak se bori ustati sa stolice, ali ne uspjeva. uju se
neartikulisani glasovi i nastaje zbunjujua atmosfera koja
uznemirava aktore. Djeak zuri kao da je vidio neto
zastraujue, dok je majka zaprepaena. Oboje skretaju svoj
108

pogled navie u isto vrijeme. Rijei u zagradma se izgovaraju

ali se ne uju).
Djeak: Moje djetinjstvo, moj ivot.
Ja (nisam)kriv.
Ja sam dijete a djeca su nevina.
Majko, ti si me uila kako da laem.
Majka: A moj me je otac uio kako da laem svojoj majci u
ali...
Djeak: Moje djetinjstvo... Moje djetinjstvo... Moje
djetinjstvo...
(Rijei oba aktera su izmjeane).
Majka: Moje djetinjstvo... Moje djetinjstvo.
Moje djetinjstvo... Gdje sam na trenutak iskusila uivanje.
Otac je pruio svoje ruke i uzeo me u zagrljaj, sa velikom
strau.
Majka nas je tako vidjela, prestravila se, i udarila ga u lice.
Onda su se tajno dopitivali i nakon toga me poslali u sirotite.
Okrenuli su mi lea, odrijekli su me se.
Sada oni gore.
Kanjavaju se zbog toga to su me napustili.
Jedno su vrijeme imali vjeru, ali su onda zalutali. Zaboravili
su Boga.
(Dok je majka priala o svome djetinjstvu, djeak se mui i
mui i ponavlja rijei svoje majke ali nikakav glas ne izlazi iz
njega, i dok se majka osjea dobro na poetku on postaje sve
vie i vie zaplaen).
Djeak: Moje djetinjstvo, majko, moje djetinjstvo.
Tada si me u naruje drala svakoga dana.
Tjerala si me da laem, nauila si me slagati.
Zbog tebe sada obojica patimo.
109

Moja desna strana, moja desna strana nestaje.

Moja desna strana, moja desna strana je nestala, izgubila se.
Vatra, vatra me obuhvata sa sviju strana. Ne vidi li, majko?
Ne dri me, ne dri me. Gui me.
(Nesvijesno grle jedan drugoga gotovo uguujui jedan
drugog. Gledaju jedan u drugog. Majka u nostalgiji plae,
dok djeak stoji ukoen kao da je kip. Iz straha obojica
ponavljaju iste rjei.
Majka: Moja desna strana, moja desna strana nestaje.
Tako brzo, raspada se, tako brzo nestaje.
Djeak: Razarajua vatra dolazi sa sviju strana.
Majka: Lijeva strana, izgleda strano. O moj Boe. Stravino
je.
Djeak: Ja sam u sredini plamena.
Majka: U sredini crvenoga plamena se moja crvena kosa
pojavila.
Moja mladost. Bila sam lijepa djevojka sa prelijepim i
melodinim glasom, prevala sam u horu.
(Hor se uje, majka i djeak ga prate tiim glasom).
Hej, Sloveni jo ste ivi
Rije naih djedova,
Dok za narod srce bije
Njihovih sinova
ivi, ivi, duh slovenski
ivjee vijekov'ma,
Zalud prijeti ponor pakla,
Zalud vatra groma
Nek' se sada I nad nama
Burom sve raznese,
Stjena puca dub se lama,
110

Zemlja nek' se trese

Mi stojimo postojano
Kano kliruine,
Proklet bio izdajica
Svoje domovine.
Djeak: Opet me prejako stee.
Majka: Moj otac me je isto tako jako stezao, nekada davno.
Djeak: Kao to me ti stee, majko?
Majka: Da.
Djeak: Ne vjerujem ti vie!
ak i onda kad si mi objeala da me nee napustiti pobjegla
si i ostavila me.
Majka: Moji su me roditelji takoe ostavili u sirotitu.
I nikada se po mene nisu vratili. Onda se desilo ono to se
desilo.
Djeak: Laove, htjela si se zabaviti sa njima.
Htjela si postati poznata pjevaica.
Htjela si luksuzan ivot.
Majka: Ne, oni su me izvukli iz hora.
Donijeli su mi tu prokletu odjeu i nauili me te pjesme.
Morala sam ih zabavljati. Objeali su mi raj a umjesto toga
sam pronala pakao.
Djeak: Onda nema nikakvo pravo da me optuuje.
Oni su i mene natjerali.. da ubijam.
Objeali su mi raj kao to su i tebi objeali, i s'toga sam ja
nevin.

111

Majka: Uuti ti prokletnie (Udara ga obema rukama).

Nek sam prokleta to sam te rodila.
Da nije tebe, izala bih odavde nekad.
Djeak: Prokleta neka si to si me rodila.
Donijela si me na ovaj svijet bez moga odobrenja.
Silovala si me, nauila si me da laem.
Onda si samu sebe ubila kako bi od toga pobjegla.
Napustila si me, ostavila si me bez roditeljske ljubavi.
Majka: Nisam vie mogla izdrati. Svako vee sam sanjala
isti san.
U snu sam vidjela da se dijete koje sam rodila pretvara u
zmiju koja nas sve prodire.
Djeak: Izvrila si samoubistvo zbog toga jednoga sna?
Majka: Umukni, ti prljavi, mali...
Ta zmija si bio ti.
Trebala sam te ubiti. Tako bih spasila sebe i svijet.
Hejjj, prokleti neka su svi koji su me natjerali da rodim.
Djeak: Eno su. Gore u plamenima jedan od drugog. Tu sam i
ja.
Svi ete vjeito gorjeti, od marala sve do zadnjeg jadnog
vojnika koji unitie moje tijelo.
Zbog vas sam ubila svoje tijelo kako bih oslobodila zatvorenu
duu.
Gorim iznutra.
Djeak: I ja takoe gorim.
Imam temperaturu i smrzavam se.
Zar ne vidi da i ja ovamo gorim?
I ja sam izmeu onih koji gore.
Majka: Vidim te, naravno da te vidim.
Mogu sve vas vidjeti.
112

Eno te, diktator meu diktatorima.

Eno i ostalih koji u me tjerali da ih zabavljam.
Sada svojim oima mogu vidjeti kako se tope u vatri kojoj je
gorivo kamenje i njihova tijela.
Djeak: Neka su prokleti.
Majka: Svi smo mi prokleti i izgubljeni.
Djeak: I ti takoe
(Otkauju se od situacije koja je nastala, kao da su gledali
neki dogaaj na TV-u).
Majka: Da, i ja takoe.
Trebala sam odbiti. Trebala sam na poetku izvriti
samoubistvo.
Ali ne, svialo mi se. ivjela sam kao u raju, ali zemaljski raj
kratko traje.
Moje mlado tijelo, moj blagi glas, miris moje kose...
Zavodila sam VIP-ove toga vrijemena.
Svako me je htio.
Bilo me je ast.
Djeak: I ja sam bio siroe.
Nikada mi nisi rekla ko je moj otac.
Svaki put kad bih te pitao za njega, ti bi me grlila, ljubila,
stezala jako, i govorila da sam ja odrastao bez oca.
Tako sam i ja odrastao kao siroe.
Majka: Kunem se da sam bila nevina.
Bila sam naputeno dijete.
Siromano siroe.
To sam vee imala tu ast da me je i Maral eleo.
To je otvorilo vrata i drugima (sve dok nisam postala kao
pare krpe).
Zadnji od njih je bio on, ludi pijanac.
113

Odlikovanja koje je dobio u Narodnom Oslobodilakom

Ratu su mu bila oduzeta.
Spavao je u konjskoj tali i istio toalete vojnikih baraka za
paklo cigara. Teko je smrdio.
Prvo to sam pomislila je bilo da moram izvriti samoubistvo
prije nego mu dopustim da me dotakne.
(Cijela situacija se mijenja kao onda kada se ovjek probudi
iz komara i onda se obraduje kad sazna da je sve bilo samo
san. Diktator se podie sa stolice i prilazi svojoj majci.
Njegovo se pravo lice moe vidjeti, kao i maska iz profila).
Djeak: Nita nisam razumio od onoga to si rijekla, damo!
elim da me ostavi na miru. Nemam vrijemena za ovakve
stvari.
Ako sam i ubijao, ubijao sam kako bih titio interese svoga
naroda.
Sama si mi objeala da u nakon rasturanja Jugoslavije ivjeti
luksuznim ivotom.
Izvrio sam misiju koju si mi zadala na najbolji nain.
Sada trebam poeti ivjeti, ivjeti svoj ivot.
Sada sam penzionisan, i zasluujem da me ostavite na miru.
Naprotiv, izai u u javnosti ispred medija i objelodaniti sve
tvoje prljave afere, zajedno sa mojim prljavim aferama.
(Majka ga odguruje i ponovo ga smjeta u stolicu. Onda mu
se vraa sa ljubavlju)
Majka: I ja bih elela otii.
elela bih da vrijeme proe.
Ali ne, vrijeme ovdje ne prolazi, beskonano je.
Ni vatra koja je ispod tebe nee nestati.
Zar ne vidi, zar ne osjea?
Ti si mrtav, u paklu si. Mi smo zauvjek izgubljeni.

114

(Djeak se pokuava pomai sa stolice, kao da ga neto gori,

ali se ne uspjeva pomai).
Djeak: Ti si luda, mrtvaci ne govore! I ja ne vjerujem u
smrti, ni u pakao nit u Sljedei Svijet. elim otii odavde.
Kakva je ova udna stolica koja me gori kao da je neka
elektrina stolica?
Majka: Tvoj boravak u toj plamenoj stolici je beskrajan.
To je stolica koju si zloupotrijebio.
Zbog strasti koju si osjeao prema njoj zaboravio si na Boga.
Stolica je postala tvoj cilj.
Djeak: Kao to je slava bila za tebe.
Majka: Nizata vie nisi mario, osim za nareenja onih koji
su ti omoguili da ostaje na vlasti.
Djeak: Kao to si i ti ila u krevet sa onima koji su te
proslavili.
Majka: Ja nikad nisam nikoga ubila.
Djeak: Ubila si samu sebe.
Majka: Ti si ubio itav svijet kako bi ostao u toj stolici.
Odatle si izdavao nareenja za masakre i bombardovanja.
Jedino je sudska stolica ona od koje si u tajnosti pobjegao.
Presto koji si toliko volio je sada tvoj.
Ti mali bezobraznie, umjesto da istrijebi Kosovare, ti si
ubijao svoju brau i sestre. Ti si onaj koji je unitio vjekovni
san svojega naroda, san o ienju Kosova od Albanaca.
Ti si onaj kojem je propao plan potokovica.
Ti si onaj koji je rasparao Srpsku Akademiju pred
nepismenin Albancima.
I sada se ti usuuje da tako ponosno pria.

115

Djeak: Ti si najnepodnoljivija osoba koju sam upoznao

tokom moje karijere.
Zamaskirala si se kao moja majka i igra se mojim
osjeanjima.
Ono to ti radi je izdaja.
Radije si me trebala ostaviti u Hakom Tribunalu nego to si
me dovela ovdje za ovaj eksperiment.
Nisam ovo zasluio.
Izdajice, kritelji obeanja!
Ne elim imati nikakva posla sa tobom.
Majka: Onda sam sa sobom raisti.
(Majka polako odlazi i nestaje u tami. Djeak ustaje sa stolice
i polazi za njom i onda ostaje u tami).
Djeak: Hej, hej... Hej, hej. Ko je onaj pijanac?
I onaj Maral kojega si maloprije spomjenula?
Moe li mi objasniti?
(Pojavljuje se majka koja sedi u stolici).
Majka: Sa Maralom sam dobila svoje prvo dijete.
Bila sam vrlo mlada kada sam zatrudnijela. Nisam htjela
abortirati.
Nisam htjela postati ubica.
Ubica moga roenoga dijeteta.
Rodila sam.
Rodila sam i napustila sam ga kao to su i moji roditelji mene
napustili.
Drugo dijete mi je bila djevojica. Ne sjeam se ko joj je bio
otac.
Morala sam spavati sa tri visoka oficira iz te jedinice.
Nisam je elela ostaviti. elela sam joj posvijetiti svoj ivot,
ali su mi je oduzjeli.
Bila sam tako povrijeena onda kada sam punu ruku ispruila
a vratila mi se prazna.
Nisam pjevala itavu godinu... onda sam odustala.
116

Turneja je trajala itav ivot.

Moj je ivot postao pjesma raanja i razdvajanja.
Razdvajanja su mi slamala srce.
Pjesme su mome srcu pomagale da se ponovo osnai.
Raanja bi tu pjesmu prekidala.
Razdvajanja od moje djece su mi slamala srce.
U jednom trenutku je moje srce ostalo slomljeno u
paramparad i nije vie ostalo nita to bi se moglo slomiti.
Nikada nisam abortirala, nisam ubila svoju djecu.
Moju kopilad.
Ovako je nastala jedna udna porodica.
Jedna ena i njezini anonimni muevi.
Oko nas, djeca koja ne poznaju jedno drugog.
Sva su ivjela u istome sirotitu.
Ona su se voljela, mrzjela, enila jedno sa drugim, raala su.
Otac bi oenio svoju ker. Brat bi oenio svoju sestru, ne
znajui o tome.
Porodica koja je odgajana na pogrenim idealima sa njihovom
majkom-damom na vrhu.
Lana majka. Velika Dama. Velika Kurva. Dama Jugoslavija.
Djeak: Gospoo, ti si luda.
Meutim, ima neke istine u onome to si rekla.
Ali nisam zainteresovan da o tome sluam.
Tako da, pusti me.
Kunem se da te neu tuiti.
Na kraju krajeva, ak i kad bih hteo, ne postoji nain kako bih
to mogao uraditi.
Ja sam izgnanik.
Svi misle da sam mrtav.
Tako da te ja ne mogu tuiti.
Majka: Pobjegao si ivotu, ne i smrti.
Djeak: Prema tebi sam, onda, ja mrtav.
Dobro.
117

Moe li mrtvak govoriti?

Evo, ja govorim.
I pitam te posljednji put.
Ko si ti i ta ja imam sa svime ovim? Sve to si rijekla...
Majka: General invalid, pijanac oduzetih odlija je tvoj otac.
Djeak: Kako?
Majka: Oni koje si ubijao su tvoji braa i sestre.
(Djeak je zapanjen zbog informacija koje je dobio, zbunjen
je i sjeda u stolicu).
Djeak: Ti stvarno kae da sam ja... da sam ja ubijao svoju
brau i sestre bez svoga znanja.
(pokuava se podii sa stolice, ali ne uspjeva).
Majka: Kada si dao narjedbu da se bombarduje grad Vukovar
u Hrvatskoj.
Tu je bio tvoj brat sa svojom porodicom, Maralov
prvoroeni.
Ubio si svoga brata i njegovu porodicu.
Djeak: To je nemogue... Ali se ipak moglo djesiti.
(Sjeda nenamjerno).
Majka: Kada si naredio da se bombarduje Dubrovnik.
Ubio si na stotine nedunih graana.
Djeak: Bio sam primoran poduzjeti tu akciju.
Oni su prvi zapoeli agresiju prema mome narodu,
(Djeak mie usnama ali se njegove rijei ne uju)
Majka: Ovjde ne moe priati lai. Niti moe okrivljavati
druge.
Zapoeo si rat u Bosni i i nisi odustao sve dok nisi stigao do
118

sto hiljada (rtava).

U Srebrenici si zaklao svoju sestru i njezina etiri sina.
Jedan od njih je bio veoma mali, jedva je mogao izgovoriti
koju rije. Izgledao je poput tebe.
(Djeak je pod stresom. Ponovo pokuava ustati sa stolice ali
ne moe. Pati ali nije u stanju da ita kae ili da se pomjeri).
Tako da si ti ubio svoju brau i sestre.
Gledala sam te odavdje, nemona.
Za svako ubistvo, moja je patnja postajala gora.
Onda kada si ubijao svoju brau i sestre, tada mi je bivalo
lake.
Ali, onda kada si ubijao djecu takoe si ubijao i njihove majke
koje su mi dolazile da me optuuju.
Krivile su me zbog toga to sam te rodila.
Pljuvale su me u lice.
Lile su kljualu vodu po meni.
Koliko su me puta ponizile.
Koliko e me jo puta poniziti.
Sada me oni zovu.
Moram poi, ko zna ko je jo ovdje.
Da me okrivi za neto.
(Majka polako polazi prema izlazu. Scena je prekrivena
jarkom crvenom svjetlou i abstraktnim zvucima).

119

SCENA -IVDjeak: Kakva je ovo knjiga?

Ne prihvatam da sam pisao ovu knjigu.
(Prua svoju ruku kao da uzima neku knjigu, i odmah nakon
to je dobiva reaguje kao da je dohvatio komad vatre od koje
se ne moe otarasiti).
Djeak: elim piti.
Gorim.
Ne mogu vie ovo podnijeti.
Topim se.
Nemojte me prikovati.
Ne elim biti zatvoren u kovegu.
Ne prihvatam.
Zato ste me zatvorili?
Izdajice, niste ak ni proitali moj testament.
Ignoriete moj jedini zahtjev.
Naredio sam vam da zapalite moje tijelo, i da moj pepeo
rastrvite kroz itavu Jugoslaviju.
Majin hor:
Zakopan ili zapaljen, slomljen ili izgoren,
Razbacan po vodi, vazduhu, ili planinama.
Opet bi se ovdje vratio.
Bog bi naredio vazduhu, vodi ili planinama.
I Njegovom bi se naredbom tvoji djelovi spojili.
Nijedno od Boijih stvorenja ne odbija Njegovu naredbu.
Majka: Osim nas, ljudi.
Zbog toga se mi kanjavamo.
(Djeak zuri u svoju majku, zbunjen).
Djeak: Ko si ti?
120

Majka: Ja sam tvoja majka.

Djeak: Koja majka?
Majin hor: Majka.
Djeak: Koja majke, pitao sam?
(uje se zvuk frule, koji donosi osjeaj oaja i melanholije).
Majka: Velika dolina.
Pretvorena u arite.
Bombardovana sa sviju strana.
Ljudi su zarobljeni dok su jo ivi.
Spaljena tijela su po zemlji, trae grob.
Zarobljena stoka, umrla od gladi.
Majke sa istroenim grudima.
Djeiji pla, umornih od gladi.
U srijedini sela je stari Dardanski toranj.
Moja nevjesta i beba u njenome krilu.
Okruena enama iz sela.
Skupile su se kako bi ga titile svojim tijelima.
Jedini mukarac koji postoji u selu.
Vrata tornja su slomljena.
ene nisu brinule o sebi, nego su brinule o djeaku.
On je bio jedini muki glas koji je ostao iv.
Majin hor: Zato ovo dijete plae?
Tvoji su vojnici upitali, oni koji su od tebe dobili njihovu
naredbu.
Nijedan mukarac ne smije ostati iv u tome okruenju.
Majka: Nevjesta, obamrla od straha, je pokuavala smiriti
bebu.
Majin hor: Ali nije mogla nita uraditi. Nita, nita, nita,
nita.

121

Majka: Njegova majka nije nita jela sedam dana.

Zbog toga nema mlijeka da nahrani bebu, rekla sam.
Majin hor: Jedan od tvojih vojnika, tvojih vojnika, tvojih
vojnika.
Majka: Oteo je bebu iz majinih ruku.
Odrubio je bebine ruke i noge i bacio je u kljualu vodu.
onda...
Majin hor: Natjerao nas je da jedemo bebu.
Majka: Mali djeak nije bio ubijen. Ostavili su ga ivog.
Majin hor: Mogli smo vidjeti svojim oima kako je, u
agoniji, pokuavao preivjeti.
Majka: Ti si bio taj koji je dao naredbu.
Majin hor: Nijedan mukarac ne smije ostati iv u tome
okruenju.
Djeak: Nisam dao takvu naredbu.
(Mie rukama istovrijemeno).
Majin hor: Lae. Lae. Lae. Laove. Laove. Laove.
Majka: Ti si bio taj koji je dao naredbu.
Majin hor: Svi mukarci u selu moraju biti ubijeni, a ene
silovane.
Majka: Nakon svega to si uradio, odsjekao si moj jezik.
Tako da nisam mogla priati o strahotama koje sam vidjela.
Istjerao si mi oi kako ne bih vie mogla vidjeti.
Danas sam umrla.
Prvo za ta sam upitala jeste da te sretnem.
(Djevojka poinje hodati prema diktatoru, dok je majin hor
122

prati).
Da ti pljunem u lice.
(ona ga pljuje, zatim ga i ostale ene pljuju).
Da ti oba oka istjeram svojim prstima.
(djevojka stavlja svoje prste u njegove oi).
I stavim ih u moje prazne oi.
Kako bih jo jednom mogla vidjeti.
Kako svijet izglijeda kad se na njega glijeda kroz oi
kriminalca.
Majin hor: Proklet bio. Proklet bio. Proklet bio. Proklet bio.
Proklet bio.
Majka: Proklet bio. Unitio si moju porodicu i ast.

123

SCENA -V(Djeak frke i eta uokolo. Sada se nalazi u obliku

siromanog djeteta dok mu majka strahovito prilazi i prste
svoje desne ruke zabada u njegove oi. Djeak strahovito
cvili).
Djeak: Majko, oprosti mi; majko, oprosti mi...
Majka: Ja nisam tvoja majka.
Djeak: Majko, smiluj mi se.
Majka: Kako moe zvati majkom nekog iju si djecu ubio?
Samo zbog toga to nisu htjela napustiti svoje kue.
Kako moe zvati majkom onu iju si ker i snaju silovao?
Djeak: Smiluj mi se, majko.
Majka: Sada trai milost!
Koristi osjetljivost majke.
I usuuje se zvati me majkom.
Majin hor: Ti si slab. Ti si slab. Ti si slab. Slab. Slab. Slab.
Ti si slab.
Majka: Nikada se nisi izvinuo za ono to si uradio! Nikada se
nisi pokajao!
Majin hor: Zato se nikada nisi pokajao? Zato se nikada
nisi pokajao? Zato se nikada nisi pokajao? Nikada se nisi
pokajao! Nikada se nisi pokajao! Nikada se nisi pokajao!
Zato se nikada nisi pokajao?
Djeak: Oprosti mi majko, oprosti mi.
Gorim, topim se.
124

Pridri me, molim te.

(Dolazi glas hladnog i suhog vjetra. Scenu pokriva plava
svjetlost. Djeak drhti od hladnoe dok se ena polako kree).
Djeak: Majko, ti si moja majka.
Majka: Nikada. Ne elim da ikada postanem onakva kao to
je bila tvoja majka.
Ja sam svoju djecu podigla i uila ih majinom ljubavlju.
Nisam ih ostavljala u ruke drugih ljudi.
Nisam ih ostavila da ih svijet ui.
Djeak: (Divi joj se).
Uistinu, ti si skroz drugaija majka.
Molim te, priaj mi kakva si ti majka.
Majka: Ja sam samo majka.
Majin hor: Majka, majka, ja sam samo majka, majka.
(ene u horu mu se pribliavaju i poinju skdati bijeli al sa
njegove glave. Dok ona govori, one poinju naputati scenu
odnosei i bijeli al, jedna za drugom).
Pokuala sam ti suditi majinom ljubavlju.
Ti si takoer ovjek, ima roditelje, nije tvoja krivica to to
mora nositi njihove grijehe.
Ljudi su grijenici. Ali se ti nikada nisi pokajao.
Majin hor: Nisi se pokajao! Nikada se nisi pokajao! Zato
se nisi pokajao?
Nikada se nisi pokajao! Zato se nisi pokajao? Nikada se nisi
pokajao!
(Majka polako odlazi, dok djeak pokuava poi za njom ali
ne uspjeva).
Djeak: Majko, gdje to ide?
125

Majka: Da se sastanem sa svojom porodicom.

Djeak: Mogu li poi sa tobom?
Mogu li biti dio tvoje porodice?
Kako bih makar jednom osjetio kako je to kada ivi sa
majkom i ocem.
Sa braom i sestrama. Svi zajedno.
Majka: Ne, ti treba ostati ovdje.
Djeak: Makar mi kai...
Da li je moje suenje gotovo?
Da li je ovo sve, majko?
Majka: Ne. Tvoje e se suenje nastaviti u beskonanost.
Djeak: I ta e se sada djesiti?
Majin hor: Sada e majke iz itavog svijeta doi.
Majka: Svaka od njih e ti suditi.
Majin hor: Ali nee vie sa majinskom ljubavi.
Djeak: I onda?
Majin hor: Onda e oevi sa itavog svijeta doi.
Onda e djea sa itavog svijeta doi.
Onda braa, sestre, djede i bake.
Od prvog do zadnjeg.
Djeak: Ali ja nisam ubio sve ljude na svijetu.
(Do sada su sve ene iz hora sa bjelim ogrtaem napustile
scenu.
Jedino roena majka i djeak ostaju).

126

Majka: Sine moj.

Ako povrijedi majku, onda si povrijedio sve majke svijeta.
Ako povrijedi dijete, povrijedio si svu djecu svijeta.
Ljudi su pred Bogom jednaki.
Ali Bog.
Bog je milostiv.
Zbog toga se nadam.
Najlake bi mi bilo da te ubijem.
Rodila sam te kako bi ivio i radio dobro.
A ti si postao ubica slobode.
Djeak: Zato me svemu ovome nisi ranije poduila, majko?
Majka: Nije ni mene moja majka ovome poduila.
Ovo som nauila u ivotu poslije smrti.
To je razlog zbog kojeg patim.
Djeak: Hoe li se ova patnja ikada zavriti, majko?
Majka: Vrijeme ovdje je vjeno.
Izvrilo je samoubistvo.
Uh, a mi, ljudi...
ivimo zajedno ali nam se ponaosob sudi.
(Zvuci se uju spolja. Oboje su uplaeni...)
Majka: Sada te moram napustiti.
Djeak: ta se deava?
Majka: Ostale majke ekaju napolju.
uje li ih kako dozivaju?
Djeak: Da, ujem ih.
Kako ih ne bih uo?
One zovu moje ime.

127

Majko, mogu li se nadati da e nekada ova moja patnja

prestati?
Majka: Nada nikada ne umire.
Djeak: ta e se sada djesiti, majko?
ta me eka?
Majka: Duga i hladna no u grobu.

128

SCENA -VI(Hladni vjetar pue. Scena je pokrivena plavom svjetlou.

Djeak poinje drhtati od hladnoe).
Djeak: Majko, ne odlazi. Ne ostavljaj me. Ponovno me
ostavlja.
Ne naputaj me, majko, dri me u zagrljaj, smrzavam se.
Majko, ne mogu ovo vie podnijeti.
Prokleta neka si, nemoj doticati moje tijelo, nemoj.
Nemoj me pokopati, ne elim da me pokopa.
Hej ti, sine moj.
Moja draga eno, otvori moj testament i proitaj ga.
To je moje pravo. To je sve to sam od tebe traio.
I ti mi i to uskrauje?!
Ne, ne elim biti pokopan u grobu.
Ne elim.
Zamolio sam vas da spalite moje tjelo.
I da onda uzmete pepeo i rasijete ga po Jugoslaviji.
Nemojte, nemojte, ne ostavljajte me ovdje.
To je nareenje, nije molba.
Moe li me uti? To je nareenje, nije molba!
Hej kopau. Zna li ti ko sam ja? Vrati se i posluaj me!
uje li me, hej, ti, kako se zove?
Eno su, moji tjelohranitelji.
Sluajte me, sluajte me, hej, ja to vama govorim!
Zar me ne vidite?
Nareujem vam.
Kakva je ova tama, nemojte me pokrivati...
Nemojte.
Topim se.
Smrzavam se.
Gorim.
Kakva je ova crna zmija koja mi se pribliava?
Nemoj me dirati!
129

Kakva je ovo knjiga? Ne prihvatam da sam je ja napisao.

To nije moj potpis, neko ga je falsifikovao!
Ne priznajem da sam potpisao tako neto.
Ne prihvatam.
Naracija:
(Njegova se desna ruka nesvijesno pomjera i postavlja mu se
ispred lica).
Svjedoim da sam sve ovo potpisao onako kako si mi naredio.
Natjerao si me da drim telefon dok si izadavao nareenja.
Natjerao si me da potpiem.
(Njegove noge svjedoe protiv njega)
Natjerao si nas da hodamo.
(Njegova usta svjedoi protiv njega)
Natjerao si me da priam.
Natjerao si me da izdajem nareenja.
Natjerao si me da laem.
Zato sada patimo zbog tebe?

130

SCENA -VII(Diktator da se migolji u udovima, s obje ruke

uhvatite masku i uklonite sa lica. On vidi lice njegove stvarne
i publika vidi lice glumca koji u obliku diktatora, pa human
daje najnovije ).
Djeak: Hodamo bosonogi, ostavljamo tragove u vremenu.
Tragovi u vremenu, prije ili kasnije, bie izbrisani.
Ali postoje tragovi, tragovi ili oiljci u dui koje ni lava
vulkana koja izlazi sa dna pakla istopiti ne moe.
Postoje tragovi hladni poput leda koji se ne mogu istopiti.
O ljudi. O brao moja.
Paljivo sa vaim otiscima.
Nemojte postati neprijatelji jedni drugima.
Nemojte postati prijatelji neprijatelju vaem, avolu.
Njegov je cilj da vas u pakao smjesti.
Suenje u Sljedeem svijetu postoji, pa ak i knjiga u kojoj je
zapisano sve to radimo.
Takoe je ovo i mjesto gdje se tajne otkrivaju.
Svoenje rauna je neminovno.
To je dokaz od strane Stvoritelja.
Svi emo ispred Njega stati na suenju.
Paljivo sa otiscima vaim.
(Majin glas se uje s'polja)
Majka: Nastavljamo.
Djeak: Dokle?
Majka: Do nove odredbe.
(ujemo pla majki diktatora samo napustiti sjedite koja
postaje stolica od poara. Glumac se vraa iz javnih i
privatnih pitati)
131

Da li mi ostane na tome?
(Neko iz publike)
Da, danas je dosta!

KRAJ
132

PLATFORM E SHKURTR
Mbi t ciln sht realizuar shfaqja "Karrigia e nxeht"
PARATHNIA:
Karrigia e nxeht (Gjykimi i bots s prtejme) sht
dram e absurdit e grshetuar me realen e cila trajton figurn e
diktatorit Sllobodan Millosheviq.
Realizimi i ktij projekti teatror vjen si
kundrprgjigjeje ndaj diktatorve dhe lakmueseve e
keqprdoruesve t fronit, n gjith botn, si kundrprgjigje
ndaj faktit se, shpesh viktima vihet n bankn e t akuzuarit,
ndrsa ai q viktimizon amnistohet.
Nj rast i till sht mjaft evident edhe n Kosov pas
lufts s fundit me gjyqet e sajuara pr qllime t caktuara
politike.
Pos tjerash, n dramn Karrigia e nxeht vihet n pah
edhe dshtimi shtetit t shtirur jugosllav dhe dshtimi i planit
famkeq "Patkoi". Plan ky i sajuar nga Akademia Serbe pr
spastrimin etnik t shqiptarve q jetojn n Kosov.
Megjithat, kjo dram nuk ka karakter politik por
sht pasqyrim real i historis. sht dram e cila trajton
njerzoren duke e vn diktatorin prball nns si personazh
unik i cili bart mesazhe paqeje dhe dashurie. Mesazhe t cilat
e kthejn diktatorin te njerzorja dhe e bjn t jap mesazhe
paqeje, nga bota e prtejme, pr njerzit e mbar bots.
TEMA: Gjykimit t bots s prtejme, nuk mund t'i
iket.
IDEJA: Po e lndove nj nn, ke lnduar nnat e
gjith bots. Po e lndove nj fmij, ke lnduar fmijt e
gjith bots. Andaj gjykimi i bots s prtejme pr keqbrsit,
nuk prfundon kurr.
FABULA: "Karrigia e nxeht" sht dram e
absurdit. Fars e ndrtuar mbi nj struktur dramatike jo t
rregullt, mirpo struktura e rregullt fabulare e personazhit
kryesor diktatorit, sht ajo e cila zvendson mungesn e
133

strukturs s rregullt fabulare t drams e cila n shikim t

par mungon, ose sht e shtruar pandjeshm.
Kjo dram sht e ndrtuar nga shtat tablo, q
lidhen n form abstrakte ndrmjet vete, duke krijuar ngjarjen
e grshetuar, midis bots faktike reale n t ciln ne jetojm,
dhe saj abstrakte - prjetsis. Personazhet, jan t trajtuara
n form t rregullt detajore. Qart dihet anamneza, biografia
e tyre, madje markohet edhe e ardhmja e tyre. Veanrisht
personazhi kryesor, diktatori, ka struktur t rregullt, gj q e
bn dramn t kuptueshme dhe me veprim aktiv pr shikuesin
e kultivuar dhe at t rndomt.
Ballafaqimi me figurat m eminente botrore sht i
leht pr diktatorin, Sfida fillon kur nna kosovare rrfen
prjetimet e saj. Tentativa e diktatorit pr t vrar nnn
kosovare e ndjell ardhjen e Nns Vdekje, e cila sjell
bashk me vdekjen edhe mundsin e pendimit pr diktatorin.
Tentativa e diktatorit pr t vrar nnn vdekje, sjell aktin e
pashmangshm t vdekjes, akt i cili bart ngjarjen nga bota
reale n botn e prtejme, ku edhe ndodh gjykimi i bots s
prtejme.
Teksa rrfen t kaluarn, nna biologjike nxjerr n
pah, realitetin fatkeq t fshehur n grmadhat e shtetit t
shtirur jugosllav. Ajo tregon se si kngtare me nam ka
zbavitur oficert e lart t ushtris jugosllave, kshtu edhe ka
lindur tet fmij, t cilt i ka ln n jetimore, ndr ta edhe
vet diktatorin. Ajo e akuzon diktatorin se gjat luts s
zhvilluar ka vrar me pahiri motrat dhe vllezrit e tij, fmijt
e saj. Akuza e diktatorit rndohet, kur gjymtyrt tij e akuzojn
at, pr krimet e bra. Si dhe pr dshtimin n realizimin e
planit "Patkoi". Plan ky famkeq, i prodhuar n laboratorin e
Akademis Serbe. Pr prznien e shqiptarve nga Kosova.
Diktatori vazhdon t mohoj t vrtetn, madje ai mohon edhe
nnn e vet e edhe nnn vdekje. N pikn kulmore, shfaqet
nna kosovare. E cila me rrfimin e vet njerzor, ka pr baz
akuzn ndaj diktatorit, pr shkatrrimin e familjes s saj.
134

Familje e cila i mungon diktatorit. Dashuria e nns kosovare

pr familjen e saj, ndrgjegjson dhe ngjall ndjenjn e
njerzores te diktatori,i cili i penduar pr at q ka br, nga
bota e prtejme, jep mesazhe paqeje pr njerzit veanrisht t
dashuruarit pas fronit, peng i t cilit ai mbetet prjetsisht.
MESAZHI: Njeriu sht peng i veprave t tij. Mos e
humbni prjetsin, duke u dhn pas luksit q ofron jeta e
shkurtr e ksaj bote. Mos e keqprdorni pozitn dhe at q u
sht ln n dispozicion, sepse kurdoher do t jepni llogari.
Mos e madhroni fronin. Mos harroni Zotin, sepse do bheni
rob i pasioneve dhe epsheve tuaja.
ANAMNEZA - BIOGRAFIA DHE STRUKTURA
E PERSONAZHEVE
Diktatori - Djali (Anamneza)
Fmija i tet dhe i fundit nga nna. Babai i tij ish
oficer i ushtris jugosllave me kombsi serbe, pijanec kronik
dhe i gjymtuar, t cilit i jan marr gradat dhe ka prfunduar
me vetvrasje. Nna e tij kngtare me profesion, e rritur n
jetimore e braktisur nga prindrit. N mosh t re, ajo ishte
kngtarja m me z, dhe zbaviste oficert e lart t ushtris
jugosllave. M von ajo kishte humbur famn. Dhe kishte
mbetur nj grua q zbaviste ushtart e rndomt sa pr t
jetuar. Pr dallim nga shtat fmijt tjer q i kishte braktisur
q n lindje, kt t fundit (diktatorin) kishte vendosur ta mbaj
pran vetes. Por, kur ai kishte mbushur 11 vite, ajo e
dshpruar me idealet e saj t gabuara, kishte br vetvrasje,
pa ja thn atij t vrtetn ndaj qasjes s saj t gabuar, mbi
jetn dhe madhrimin e idealeve n vend t Zotit. Prandaj
diktatori vazhdon t rritet, edukohet dhe frymzohet, nga
ideale t gabuara, dhe nn frymn social-komuniste. Ai sht
akteri i t gjitha luftrave t zhvilluara, n mes shteteve t ish
Jugosllavis. Kryetar shteti dhe udhheqs i ushtris me
dekada. I apasionuar pas fronit dhe pushtetit, politikan me
shum karizm.
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Pas prfundimit t lufts n Kosov, gjykata e Hags

e shpall flet-arrestin ndaj tij, dhe ai drgohet pr n gjykat,
ku mbrohet shklqyeshm, para t gjitha fakteve dhe akuzave
q i drejtohen atij pr vrasje e masakra, jo vetm ndaj
shqiptarve t Kosovs. Me marrveshje t dy superfuqive
botrore, inskenohet vdekja e tij e rrejshme, n burgun e
Hags. Ndrsa ai prcillet fshehurazi pr n nj vend pa
adres konkrete.
T dhna faktike
Sllobodan Millosheviqi lindi m 20 gusht t vitit 1947
n Pozharevc. Ka qen president i Serbis prej vitit 1989 deri
n vitin 1997 dhe i RF t Jugosllavis prej 1997 deri n vitin
2000. N vitin 1990 zgjidhet lider i Partis Socialiste t
Serbis (PSS).
Ishte i martuar me gruan Mira dhe kishte dy fmij,
vajzn
Marija
dhe
djalin
Marko.
M 31 mars t vitit 2001 u arrestua n Beograd, nn akuzn
pr keqprdorim t pozits zyrtare dhe pr korrupsion. M
pas m 28 qershor t po ktij viti, u drgua n Tribunalin pr
krime lufte n Hag, ku kundr tij filloi procesi gjyqsor, pr
krime kundr njerzimit, gjat luftrave n Kroaci, Bosnj e
Hercegovin dhe n Kosov, n vitet 90 t shekullit t kaluar.
"Vdiq, m 11 mars 2006 n ora 09:30". Procedura gjyqsore e
tij, prfundoi me 14 mars 2006.
Biografia
Nj burr rreth 60 vje, por q duket m i ri se sa
mosha q ka, sht mjaft vital. I veshur me kostum t zi
solemn, i lustruar mir, plot elan dhe energji pr t jetuar.
Ndjehet triumfues dhe plot bindje dhe vetsiguri. Duket i
hareshm dhe plot jet, nga ngazllimi kndon dhe ec me
hap q ngjason me vallzimin. Veprimi i tij sht i matur dhe i
sigurt. Plot potenc dhe bindje e cila kur grshetohet me
energjin pozitive q bart e bn at nj figur e cila n
shikim t par, t shtyn ta admirosh. Kjo sht figura e
jashtme, dhe prshtypja e par, q na jep figura e diktatorit.
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Brenda ksaj figure madhshtore dhe plot potencial,

fshihet antipodi, pra e kundrta i asaj q na shfaqet n shikim
t par.
Me rastin e vdekjes s tij, atij i ndrron fizionomia.
Nga nj figur madhshtore ai kthehet n nj figur minore. I
veshur rroba t rndomta (pizhame burgu) dhe nj fytyr t
dyt e cila ngjason n fytyrn e nj fmije t gjor, i cili
gjithmon sht i fundit n radh.
sht i ashpr, kryene, frikacak, mjaft inteligjent,
orator i rryer, avokat i mir.
Nga paraqitja e tij e par pompoze, me rastin e
vdekjes, ai kthehet n nj figur minore. Por, q brenda vetes,
mban t njjtin nefs dhe djallzi. Figura e tij eskalon sipas
situatave me t cilat ai ballafaqohet. Dhe n fund t shfaqjes,
n pjesn ku ai jep mesazhe paqeje, diktatori na vjen si nj
njeri i gjor, i cili t ngjall keqardhje ndaj tij.
Psikologjia e karakterit: Nxitsi i brendshm i cili e
shtyn diktatorin n veprimet e tij t mdha, sht voglsia e
tij shpirtrore. Atij i mungon modeli i babait, prandaj duke
tentuar ta gjej figurn e babait t tij, ai krijon nj figur
trsisht t rrejshme, me at q faktikisht ekziston brenda tij.
Raportet dhe lidhja e tij emocionale me nnn, jan t
rregullta dhe plot hapsira t errta. Dikur nna pr t ishte
figura model. Por, kjo gjendje ndryshon, duke eskaluar sipas
situatave. N fakt, emocionet e tij ndaj nns, jan t prziera
me ndjenjn e erosit. Trashgon gjenin incestar, dhe ky fakt e
bn edhe m t rregullt personalitetin e tij. Bazamenti i
brengs s tij, sht mungesa e familjes. Ai, sht nj fmij i
cili sht rritur pa familje, pa ndjenja prindrore dhe
vllazrore. Kto ndjenja, fillojn t'i ngjallen tek pasi dgjon
rrfimin e nns kosovare, pr fmijt dhe familjen e saj.
Raporti i personazhit me vetveten: Ai sht i
gatshm, t sakrifikoj gjith botn, pr t knaqur unin, epshin
dhe ndjenjat e tij t vobekta. Kjo voglsi shpirtrore, e bn
at, t krijoj nj figur t jashtme, pr t'ia pasur lakmi secili.
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Pushtimi i tij nga uni i vet, e shtyn at, deri n piedestalin e

arrogancs, mohimin e Krijuesit, mohimin e vdekjes,
mohimin e bots s prtejme, mohimin e ringjalljes. Ai e sheh
vdekjen me sy, por nuk e beson. Kjo tregon shkalln e lart t
injorancs s tij, n raport me Krijuesin, dhe botn e prtejme.
Si personazh, sht bartsi i veprimit gjat gjith
shfaqjes, krahasuar me nnn e cila sht nxitsja dhe
shtytsja e veprimit. I dashuruar pas vetvetes dhe i robruar
nga epshet dhe pasionet e tij.
Nna: (Anamneza)
Fmija i vetm n familje. Prindrit e braktisin n
moshn pesvjeare, e ln n jetimore, ndrsa vet, bhen
pjes e aradheve vullnetare, t sistemit social-komunist. Babi i
vet e donte jasht suazave normale, prandaj n situata t
caktuara edhe e keqprdor at seksualisht. Kur nna e saj e
vren kt anomali emocionale, e shtyn burrin e saj q vajzn
e tyre t vetme, ta ln n jetimore, ndrsa vet, t bhen pjes
e aradheve vullnetare. Kshtu, ajo mbetet pa familje akoma pa
e arritur fazn e pjekuris. Nj ekspedit q hulumtonte
talentet e reja n fushn e kndimit, e merr at nga jetimorja,
dhe e angazhon n korin e pionierve, pr shkak t pamjes s
saj t veant, dhe zrit karakteristik e t mbl. Akoma pa i
mbushur pesmbdhjet vjet, ajo angazhohet si kngtare e
cila zbavit aradhet e ushtris jugosllave. Shum shpejt, fama
e saj merr dhen, prandaj edhe przgjidhet, q t zbavis,
oficert e lart t ushtris jugosllave. Pa i mbushur
tetmbdhjet vjet, mbetet shtatzn, me mareshalin e
ushtris. Ajo nuk e tregon kt fakt, dhe nuk pranon t
abortoj fmijn. E lind, dhe e l n jetimore, ashtu si e
kishin ln at prindrit e saj. Kshtu fati i saj vazhdon, derisa
ajo lind fmijt e saj kopil, me ushtarak t ndryshm, nga
nacionalitetet e ndryshme, t ish ushtris jugosllave. Asnjrin
nga ta nuk e mban, prpos diktatorit, t cilin e lind n mosh
t shtyr, me nj pijanec kronik e t gjymtuar, t nacionalitetit
serb. Tashm ishte moshuar, dhe fama i ishte zbehur, prandaj
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edhe vendos ta realizoj ndrrn e saj fmijrore, t krijonte

familje. Prpjekjet e saj dshtojn, kur diktatori mbush
njmbdhjet vjet. Ajo e lodhur dhe e zhgnjyer nga jeta, bn
vetvrasje. Nuk mund t duroi dot, ndrrn e frikshme, q
shihte do nat: "Sikur djali i saj i tet ( pra diktatori )
shndrrohet n gjarpr dhe glltit, vllezrit dhe motrat e
veta, t cilt nuk i njeh. N fund t ndrrs ai glltit edhe
nnn e vet, dhe shndrrohet n flak. Ajo nuk kishte m
fuqi, t prballonte ngarkesn psikike dhe vuajtjet e jets. Nuk
ishte e gatshme, t'i tregonte djalit t saj, pr fatin e saj, dhe t
fmijve t saj. As pr prejardhjen e tij. do dit ai e pyeste,
se kush sht babai i tij, dhe pse ai, nuk ka as motra as
vllezr, si t gjith fmijt e tjer. Nj dit, kur djali kthehet
nga shkolla,e gjen nnn e vet, e cila nuk ishte zgjuar nga
gjumi. Ajo kishte prdorur nj lloj helmi, i cili t v n gjum
dhe ngadal sjell vdekjen. Vdekja e saj mistike, bhet pjes e
ballinave, n t gjitha gazetat dhe lajmet ditore. Ajo varroset,
n nj ceremoni madhshtore, me lavde e name t mdha. Me
t kaluar n botn e prtejme, takon prindrit e saj, ku fillojn
akuzat, dhe ballafaqimet me ta, derisa fillon lufta n ish
Jugosllavi, dhe djali i saj (diktatori) tashm ishte njeriu i par
i shtetit. Vuajtjet e saj n ferr fillojn t shtohen, sepse vrasjet
e djalit t saj, binin mbi kurrizin e nns s vdekur. Vuajtjet
shtohen edhe m shum, kur diktatori, vriste vllezrit dhe
motrat e tij, pa e ditur se ata i ka vllezr dhe motra. E gjith
kjo ndodh, ngase ajo nuk i kishte treguar atij t vrtetn, pr
fatin e saj, dhe familjen e shtirur, e t shpifur, familje e cila
sht sinonimi i shtetit jugosllav.
Nna si nocion unik:Figura e nns n dramn
"Karrigia e nxeht", trajtohet si nj personazh kompleks i
ndar n tri linja. Nna Vdekje, Nna Biologjike dhe Nna
Kosovare.
Nna vdekje sht ajo e cila merr n gjirin e saj
secilin njeri, duke gjeneralizuar kshtu figurn e nns si nj
krijes unike e cila bart n vete, aftsin e dhnies dhe
139

marrjes jet, akte kto q bashkojn dy cepat e jets s njeriut.

Akte t cilat ndodhin pa dshirn ton dhe njeriu nuk mund t
ju shmanget.
Nna biologjike: sht ajo e cila bart kodin
gjenetik, dhe pasojat e ktij kodi barten nga prindi n
pasardhs n vazhdimsi. Nna si krijes e cila sjell njeriun
n jet, pa dashjen e saj, bart barrn e edukimit dhe dhnies
s amsis. Krijimin e familjes, q e ka obligim njerzor. Por,
edhe nse nj nn kurr nuk e ka par fmijn e saj, lidhja
gjenetike mes tyre sht e pashmangshme. Prandaj, do njeri
domosdoshmrisht, n mos n kt bot, do t ballafaqohet me
prindrit biologjik, n botn tjetr. Pra, sikur q sht i
pashmangshm, ballafaqimi me nnn vdekje, sht i
pashmangshm, edhe ballafaqimi me nnn biologjike.
Nna model - Nna Kosovare: Jo rastsisht kombi
yn u ka br ball, sfidave t asimilimit nga shumsia e
pushtimeve, t popujve nomad, n kohrat e lashta, e deri te
populli sllav, n kohn e fundit. Popuj t cilt n vazhdimsi, e
kan synuar truallin Ilirik.
sht nna, ajo e cila e ka mbrojtur, dhe br t
pathyeshme, celuln e kombit, FAMILJEN.
N kt rast, nna kosovare,prfaqsuese e nns
ilirike,vjen si model unik i nns s prkryer. Ajo, sht e
prkushtuar ndaj ruajtjes dhe edukimit t fmijs, si rrjedhoj
ruajtjes s familjes. Pra, t huajt, qindra her arritn t
pushtojn trojet tona, t thyejn e zhbjn kufijt. Por,
asnjher nuk arritn t pushtojn, bazamentin e kombit ton
- FAMILJEN. Asnjher, nuk arritn ta thyejn kodin e
familjes shqiptare. Merit kjo e cila i takon nns. Ajo,
asnjher nuk pranoi, q brenda mitrs s saj, t bart kodin e
huaj gjenetik. Ajo, asnjher nuk pranoi, t lind fmij pa
adres gjenetike. Qindra, mija nna shqiptare, flijuan jetn e
tyre, vetm se nuk pranuan t jepnin nderin. Pra, ruajtja e
nderit dhe moralit, brenda familjes dhe bashkshortsis, e

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bn unik, kodin e nns kosovare. N kt rast prfaqsuese

e nns Ilirike.
Pikrisht kjo, sht pika e dobt e diktatorit. I cili,
luan me burrshtetasit e bots. Por, ngulfatet nga fjalt e
nns kosovare. Ajo e akuzon at, pr shkatrrimin e familjes
s saj, dhe tentativat pr t nderuar epitetin e nuses s saj.
Shih paradoksin e ktij fenomeni! Ajo, n rend t par, akuzon
diktatorin pr shkeljen e nderit, e pastaj e akuzon pr vrasjen
fizike, t familjes s saj. Pra, n kt pik, shpirtrorja - e
prjetshmja, na shfaqet mbi materialen - t prkohshmen.
Pra, nna kosovare, bart n vete, epitetin e
burrris, bukuris, butsis, ashprsis, etiks, moralit,
sakrifics dhe vetflijimit. Prandaj, edhe i jepet epiteti i nns
model. N platformn ton, mbi t ciln sht realizuar
shfaqja "Karrigia e nxeht",nna kosovare, nxit ardhjen e
Nns Vdekje. Si pasoj e tentativs s diktatorit, pr t vrar
zrin e nns - zrin e arsyes. Ajo e sjell diktatorin n pikn
zero dhe e bn t gjunjzohet para nns. Nna kosovare,
sht ajo e cila jep mesazhin unik: "Nse lndon nj nn, ke
lnduar nnat e gjith bots".
Biografia - Nna si nocion unik: sht personifikimi
i dashuris, mirsis dhe butsis. Ajo sht krijesa e cila
sjell jet n kt bot. Ky profil i nns nga njra an sht
kontradiktor dhe anakronikisht i kundrt me Nnn Vdekje e
cila sjell vdekjen. Pra, personazhi i nns, shtrihet n dy pole
krejtsisht t kundrta, prej lindjes deri te vdekja. Prandaj
personazhi i nns, n aspektin dramaturgjik sht personazh
abstrakt, dhe shpesh i krijuar mbi koncepte imagjinatave. T
cilat gjat materializimit t shfaqjes n sken, duhet t
konkretizohen. Duke e paraqitur nnn, si figur njerzore, n
rrethana abstrakte, t cilat gjithsesi, duhet t jen t
konkretizuara, t kuptueshme.
Nna biologjike: Ngjarja n botn e prtejme, dhe
fillimi i gjykimit, lidhen me ardhjen e nns biologjike n
sken. Kontakti i par me diktatorin, (t birin e saj) sht
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heqja e masks nga fytyra e diktatorit, dhe shfaqja e fytyrs

reale e birit t saj. Mbase, edhe ajo mund t ket mbi qafn e
saj, barrn e nj maske, pas s cils fshihej dikur.
Ajo, sht nj grua e bukur, rreth t tridhjetave, e cila
mahnit me bukurin e saj.
E veshur me nj rrob t zez e cila n gjoks ka nj
shenj t bardh fluoreshente, n form t shkronjs "V", q
nis nga kraht dhe qafa dhe lshohet deri n bark. N duar,
mban doreza t bardha nga sipr, dhe t zeza nga ana e
shuplaks, ashtu i ka edhe t mbathurat. Ka shikim rrezatues,
me t cilin t bn pr vete, q n shikim t par. Ka gjest t
matur, shihet se ka edukat t lart aristokrate. Ka z t mbl,
melodik. Flet bukur, rrjedhshm dhe qart. Anamneza e saj,
sht e lidhur ngusht me gjendjen aktuale, n t ciln ajo
ndodhet. Gati gjat gjith paraqitjes s saj, ajo merret me
anamnezn - t kaluarn e saj. Dhe t kaluarn e errt, t djalit
t saj (diktatorit), pjes e s cils sht edhe vet. Por q tash
e shikon nga nj perspektiv ndryshe, nga ajo e bots reale.
Ajo, tashm sht penduar, dhe pret faljen, amnistin, nga
barra e ndshkimit. Pjesa e errt e karakterit t saj, lidhet me
gjenin incestar. Me braktisjen e fmijve t saj,dhe prfundon
me vetvrasjen, si vul e mkateve t saj. Ndrsa, pjesa e
ndritshme dhe njerzore e karakterit t saj, lidhet me faktin se
ajo, asnjher nuk abortoi. Nuk vrau fmijt e saj, edhe pse
ishte e sprovuar, t bj nj gj t till. Ajo, lindi tet fmij
jashtmartesor, dhe vula e lindjeve t saj, sht lindja e
diktatorit. T cilin e lindi me "shenjn e kainit n zverk". I
destinuar pr t shkatrruar, familjen e saj jo legjitime. Jo
rastsisht, diktatori sht fmija i saj i fundit, me t cilin ajo
bashkjetoi, deri para adoleshencs. Kjo pr arsye se, ai bart
kulturn e saj, dhe n nj fjali shprehet: "A nuk isha un
misionari i vizioneve tua"?! Pra, gjenocidi dhe gjeni vrastar, si
dhe kultura e diktatorit, sht trashgimi nga paraardhsit.
Mirpo, personazhi i saj, mbrohet me vet faktin se, edhe ajo
trashgonte kto veti. Madje, ajo ishte e detyruar, (dresuar) q
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t jet e till. Pre e pasioneve dhe idealeve t gabuara, t

paraardhsve t saj, dhe sistemit n t cilin kishte jetuar. Ajo,
bart epitetin e nns, sepse lindi tet her. Por, i mungon
epiteti i shtylls s familjes, q sht nna, kulturn (misionin)
e s cils ajo, as nuk e ka trashguar, as nuk e bart te
pasardhsit e saj. Ajo asnjher nuk arriti t krijoj familje.
Madje, edukata fillestare q ja dha diktatorit, rezultoi me
krijimin e nj monstrumi, t llojit t vet. Prandaj, akuzat q
bien mbi diktatorin, jan akuza q bien edhe mbi nnn e tij
biologjike. Dallimi i saj me diktatorin, sht se ajo, nuk vrau
asnjher. Por, ajo prodhoi makinn vrastare, q shkatrroi
qindra mijra familje e jetra, pa kursyer as fmijt e nns s
vet. Vrasja e vllait, motrs, nns, sht mallkimi m i rnd
pr njeriun. Dallon ndshkimi pr vrasjen e familjarit me
lidhje gjaku, ndaj ndshkimit pr vrasjen e po q quajm
kushtimit " nj t huaji", sipas rrethanave t vrasjes. N kt
kontekst, barra e vrasjes s vllezrve dhe motrave t tij, nga
ana e diktatorit, bie mbi supet e Nns Biologjike. Sepse ajo
lindi fmij dhe i la ata pa adres. Pra, nuk arriti t krijoj
familje, nuk arriti t'i tuboj ata, dhe t' ua mundsoj, q t
shkmbejn, ndjenjat e dashuris vllazrore. Nga ana
psikologjike, pikrisht mungesa e ktyre ndjenjave, dhe
zbraztia q krijon, mungesa e familjes, e shtyn diktatorin, t
jet i atill far sht.
Personazhi i nns biologjike, sht sinonimi i shtetit
Jugosllav. Ndrsa fmijt e saj kopil, jan sinonim i
republikave dhe krahinave, q e prbnin shtetin e sajuar, t
shtirur Jugosllav. Nj familje e madhe, por e ndrtuar mbi
themele, t paqndrueshme. Shtete t formuara "ad hoc", pa
kod konkret. Ashtu si familjet e fmijve, t Nns
Biologjike, pra nns s diktatorit, t cilat jan t sajuara, dhe
jo t ndrtuara, mbi bazat e shndosha, t familjes dhe
shoqris.

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Nna kosovare - Kori i nnave : E veshur me fut t zez. E

pasuar nga nnat tjera. Ka nj shikim t thell dhe deprtues,
ka qndrim fisnik dhe z t thekshm. Pr dallim nga nna
biologjike, ajo t bn ta admirosh. Jo pr shkak t bukuris
s saj. Por, pr shkak t fisnikris dhe pastrtis shpirtrore,
iltrsis q ajo rrezaton.
Nna Kosovare, sht simboli nns unike. Nns s
prkryer. N shfaqjen Karrigia e nxeht, trajtimi i personazhit
t nns, fillon dhe prfundon, me paraqitjen e Nns
Kosovare. Ajo, sht sinonimi i nns q lind, edukon, rrit,
fmij dhe krijon familje. Kto veti, ajo i pasqyron edhe te
nusja e djalit t saj. E cila e ruan fmijn e vet, deri n vdekje.
Dhe nuk e ndan nga gjiri, edhe pse gjinjt i jan shterur. Pr
dallim nga Nna Biologjike, e cila i l fmijt e saj, t'ia rrisin
bota. Pra, nusja nuk bn vetvrasje, sepse nuk lejon, q fmija
i saj, t mbetet pa prkujdesje, dhe mbrojtje prindrore. Pika
tjetr, sht ruajtja e moralit dhe nderit, si nj virtyt i lart
njerzor. Pra nna kosovare edhe pse e "pashkolluar" me
intelektin e saj, dominon mbi figurat e t gjith burrshtetasve
botror. Ajo sht m pak arrogante, dhe shum m e
prmbajtur, n raport me diktatorin, krahas nns biologjike.
T dy nnat e akuzojn diktatorin, pr vrasjen e
fmijve t tyre. Por, n forma dhe raporte t ndryshme.
Akuzat, q nna biologjike ia adreson diktatorit, e
acarojn edhe m shum at. Rrfimi i saj pr t kaluarn,
nuk e shron shpirtin e diktatorit. Por e bn edhe m t
smur. Ndrsa rrfimi i nns kosovare dhe akuzat e
saj,e kthejn diktatorin t njerzorja.
Pra, nna kosovare, sht personifikimi i nns
model. Madje ky model, nuk mbetet model arketip. Por, si i
till, sht i pranishm pothuajse te secila nga nnat dhe bijat
e korit, q e pasojn Nnn Kosovare. Kjo sqarohet n
rrfimin e saj. Brenda kulls jan mbledhur t gjitha nnat,
nuset dhe bijat e fshatit pr t mbrojtur dhe ruajtur me trupat e
tyre, fmijn e vetm mashkull, t mbetur gjall n at fshat.
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RAPORTET E PERSONAZHEVE
Diktatori: N raport me figurat eminente botrore,
me t cilat komunikon prmes zrit t transistorit ndjehet
superior. Ai sillet me ta si peshkatari me nj tog peshqish, t
cilt i ka zn n rrjet. Dhe i shikon nga barka, duke i
prqeshur ata. Ndrsa, sa i prket raportit t tij me nnn,
sht raport i prshkallzuar, q trajtohet n tri linja.
~Ai mohon dhe injoron Nnn Vdekje, dhe sillet ndaj
saj me arroganc, si t ishte prostitut q e provokon.
~N raport me Nnn Biologjike, ai sht labil dhe i
paqndrueshm. Ndjenjat dhe dashuria ndaj saj, jan t
prziera, dhe qndrojn n mes ndjenjave epshore dhe
amnore. Ai, sht akuzues ndaj saj, pr ta shfajsuar vetveten.
Megjithat, simboli dhe modeli i jets s tij, mbetet pikrisht,
figura e nns s tij biologjike. Kjo vrtetohet me fjalin: A
nuk jam un, misionari i vizioneve tuaja . Gjith kjo shthurje
motive, prfundon me urrejtjen ndaj nns biologjike, dhe
akuzat ndaj saj.
~Diktatori fillon me urrejtje, ndaj zrit t Nns
Kosovare, q sht personifikim i zrit t arsyes. Por,
prfundon me admirim ndaj figurs s saj. Ai, pikrisht te
nna kosovare, gjen at q i kishte munguar, dhe e kishte
krkuar gjith jetn. E gjen modelin e FAMILJES. Pra,
dashuria q tregon nna kosovare ndaj familjes s saj, dhe
mbrojtja e familjes me do kusht, e bn diktatorin t'i kthehet
njerzores, dhe ta admiroj Nnn Kosovare.
Tek n fund, diktatori ndrgjegjsohet, dhe fillon t
besoj n gjykimin e bots s prtejme, q nnkupton, se fillon
t besoj n Zotin. Andaj, edhe fillon t jap mesazhe paqeje pr
njerzit, nga bota e prtejme.
Nna: Personazhi i nns, trajtohet n tri profile linja. N t tri rastet, nna tregohet e mshirshme ndaj djalit.
~Edhe pse Nna Vdekje vjen me mision t qart, dhe
mjaft t zymt, ashtu si sht edhe vet vdekja. Ajo prap se
prap, tregohet e mshirshme, dhe prpiqet q t'i jap diktatorit
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shansin e fundit, pr pendim. Madje, vrazhdsis s diktatorit,

dhe tentativs q ta vras nnn, ajo nuk i prgjigjet me
dhun. Por, me nj veprim t ftoft skenik, i cili e vdes
diktatorin.
~Edhe nna biologjike, e cila bart gjith barrn e
veprimeve t diktatorit, prap se prap tregohet e mshirshme.
Ajo, akuzon diktatorin pr vrasjen e fmijve t saj, dhe
konflikti mes ktyre dy personazheve, q kan raporte mjaft
intime me njri tjetrin, shkon nga puthja intime, incestare deri
n mallkim dhe ngulfatje, t njri tjetrit. Prap se prap, nna
thot se: "U mundova t t gjykoj, me mshirn e nns".
~Nna Kosovare, n rrafshin e komunikimit verbal,
sht e rrept dhe e prer, n raport me diktatorin. Ajo, i jep
atij leksion, si n fushn e oratoris, ashtu edhe n rrafshin e
kodeve dhe kritereve njerzore. Zri i saj i ngjirur, dhe i
belbt, n komunikimin e par q emetohet prmes
transistorit, dominon mbi zrat e gjith burrshtetasve t
bots. Ndrsa n paraqitjen e saj t dyt, ajo arrin fuqishm, t
godas psiken e diktatorit. Kt e arrin prmes butsis dhe
dashuris njerzore, me t ciln ajo flet pr familjen, fmijt
dhe niprit e saj. Pra, ajo duke shprfaqur virtytet e fmijve
t saj, krahas veseve t diktatorit, zgjon ndjenjat e njerzores,
t mbyllura thell, n t pa vetdijshmen ndrdijen e fjetur
t diktatorit, deri n at shkall sa q, diktatori i cili mohon
Nnn vdekje, dhe e mallkon nnn e tij biologjike. Fillon ta
lus Nnn Kosovare, q ta pranoj si fmijn e saj. Me kt
rast, kur kto dy personazhe abstrakte, sa nuk pikpreken mes
vete, Nna Kosovare qart diferencon, virtytet e djemve t saj
atdhetar, q mbrojn pragun e shtpis, n njrn an,dhe
veset e diktatorit, i cili ka tendenc uzurpuese, n ann tjetr.
Nna Kosovare, n fund t dialogut, bart mesazhin unik,
duke gjeneralizuar kshtu, figurn e nns. Si figur unike,
prmes fjalis: "Un jam nj nn. Po lndove nj nn, ke
lnduar nnat e gjith bots".

146

NGA EKSPOZICIONI DERI TE THURJA E

VEPRIMIT - MESAZHI
- Zrat e nnave dhe himnet e dy superfuqive, bashk
me ardhjen e diktatorit n sken, dhe ballafaqimin me figurat
botrore. Jan Ekspozicioni i shfaqjes.
'Kthes dramaturgjike, shnon paraqitja e zrit t
Nns Kosovare.
-Ardhja e Nns Vdekje dhe trajtimi q ajo ja bn
diktatorit, deri te vdekja e tij, shnojn hyrjen n
Kompozicionin e shfaqjes.
' Heqja e masks, sht kthesa e dyt dramaturgjike,
n shfaqje.
- Vendosja e diktatorit n karrigen e nxeht, dhe
ballafaqimi i tij, me nnn biologjike, paraqesin
Kompozicionin - Thurjen e veprimit. Q ndryshe
nnkuptohet edhe si struktura fabulare, (masa dramatike ngjarja e drams).
'Ceremonia mortore - varrimi fizik, i trupit t
diktatorit, sht nj tjetr kthes dramaturgjike, brenda
shfaqjes.
- Ballafaqimi me vetveten, shnon pikn kulmore,
brenda personazhit t diktatorit, dhe paraprgatit
kulminacionin e shfaqjes, i cili ndodh, kur nna kosovare,
akuzon diktatorin, pr shkatrrimin e familjes s saj. Ndrsa ai
krkon nga ajo, q ta pranoj, si djalin e saj.
-Gjeneralizimi i figurs s nns, pikrisht fjalia:
"nse e ke lnduar nj nn, ke lnduar nnat e gjith bots",
shnon shthurjen e veprimit brenda shfaqjes, e cila
prfundon me verdiktin, se gjykimi nuk do t prfundoj
kurr.
-Monologu prmbylls, ku diktatori jep mesazhe
paqeje, nga bota e prtejme, pr njerzit e ksaj bote, sht
mesazhi i shfaqjes, dhe demistifikimi i plot, i figurs s
diktatorit. I cili mbetet prjetsisht peng, i karriges s nxeht zjarr.
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- Pritja e prcaktimit t ri, sht kthesa e fundit

dramaturgjike, e cila t shikuesi l t hapur mundsin, e
komentimit sipas nevojs s tyre ...!
( Kur shfaqja do t realizohet n versionin e zgjeruar,
pra jo si diadram, por me korin e nnave, do t realizohen
edhe s paku tri situata narrative, imagjinare nga figurat dhe
zrat e nnave. Situata e par, zhvillohet n fillim t shfaqjes,
situata e dyt, me rastin e vdekjes s diktatorit, dhe situata e
tret e prmbyll shfaqjen, duke e ln t hapur gjykimin e
diktatorit prjetsisht. Kto tri situata, nuk jan pjes e
strukturs s rregullt t shfaqjes, por mund t futen si pyka,
mlmesa, t cilat e dekorojn dramn si dram e absurdit.)
Strukturn fabulare, emrtimin e tablove,
situatave dhe mikrosituatave t shoqruara me sqarimin e
situatave e mikrosituatave detajore pr shkak t volumit nuk e
shohim t arsyeshme ta prfshijm si pjes t botimit. T
drejtn autoriale t platforms e bart autori.
Autori

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A BRIEF PLATFORM
On which the play "The Hot Chair" is realised.
INTRODUCTION:
The Hot Chair (Judgement in the Hereafter) is a
drama of the absurd combined with the reality which deals
with the character of the dictator Slobodan Miloevi.
This theatre project is a response to the dictators,
greedy people and abusers of the throne in the whole world, a
response to the fact that the victim is often placed in the bench
of the accused whilst amnesty is granted to the culprit.
This is quite common in Kosova especially after the
last war where different trials have taken place for purely
political reasons.
Among other The Hot Chair emphasizes the failure of
the false Yugoslav state and the failure of the notorious plan
"Horseshoe" made by the Serbian Academy for the ethnic
cleansing of Albanians living in Kosova.
However, this drama is not of a political nature but
rather a realistic reflection on history. As such, it tackles the
human side by facing the dictator with the mother as a unique
character who carries messages of peace and love, messages
which make the dictator turn to the human side and give peace
messages from the Hereafter to all humanity.
THE THEME: No person can escape the Judgement
in the Hereafter.
THE IDEA: By hurting a mother you hurt all
mothers in the world, by hurting a child you hurt all children
of the world therefore the Judgement in the Hereafter for
evildoers doesnt ever end.
THE STORY: The Hot Chair is a drama of the
absurd. A farce built on an irregular dramatic structure, yet
the regular story structure of the main character (dictator) is
the one that replaces the lack of the regular story structure of

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the drama which at first is absent or is presented

unnoticeably.
This drama is built on seven scenes (tablo) with are
connected among themselves in an abstract form by creating
a combined story between the real world in which we live and
the abstract world the Eternity. Characters are dealt with in
a regular detailed form. Their ANAMNESIS and biographies
are clearly known and even their future is marked. Especially
the main character, the dictator, has a regular structure
which makes the drama understandable and with an active
action for the cultivated and the lay viewers.
Facing the worlds most prominent figures is easy for
the dictator, which begins when the Kosovar Mother tells
what she has been through. The dictators attempt to kill the
Kosovar Mother summons the arrival of Mother Death, which
together with death also brings the chance for the dictator to
repent. The dictators attempt to kill Mother Death brings the
unavoidable act of death, an act which carries the event from
the real world to the Eternity, where the Judgement in the
Hereafter takes place.
While she tells about the past she reveals the
unfortunate reality hidden in the ruins of the false Yugoslav
country. She tells her past as a famous singer entertaining
high officers in the Yugoslav Army. This is how she had
given birth to her bastard children whom she had left in an
orphanage. She accuses the dictator that during the war he had
unintentionally killed his brothers and sisters, her children.
The accusation becomes worse, when his body parts accuse
him for his committed crimes and for the failure in
implementing the plan "Horseshoe". The notorious plan was
made in the laboratory of the Serbian Academy for the
expulsion of Albanians from Kosova. The dictator continues
to deny the truth. He even denies his own mother as well as
Mother Death. At the peak moment the Kosovar Mother
appears accusing the dictator for destroying her family, a
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family which the dictator misses. The mothers love for her
family raises the awareness and the human sense of the
dictator, who in state of repentance for what he had done,
from the Hereafter, gives peace messages to all humanity,
especially to those in love with the throne, to which the
dictator remains a pledge forever.
THE MESSAGE: Every person is a pledge for what
he has earned. Do not lose the eternity by submitting to the
luxury which this short life offers. Do not abuse your position
and what has been entrusted to you because a moment shall
come when you will be judged. Do not magnify the throne.
Do not forget your Lord because youll become a slave of
passions and desires.
ANAMNESIS THE BIOGRAPHY AND
STRUCTURE OF CHARACTERS
Dictator - Son (ANAMNESIS)
The eighth and last-born child of a mother. His father
is a former officer of the Yugoslav Army of Serbian ethnicity,
a chronic drunk and crippled, who had his ranks taken off and
ends his life committing suicide. His mother was a singer by
profession, raised in an orphanage as she was abandoned by
both parents. At a young age she becomes a well-known
singer by entertaining high officers of the Yugoslav Army.
Later on she loses her fame and becomes a woman
entertaining soldiers for a living. Different from the other
seven children who were abandoned at birth, she decides to
keep this last one (the dictator). But when the boy is 11 years
old, while living in despair because of her wrong ideals, she
committs suicide without telling him the truth about the
wrong decisions she had made in her life and the worshiping
of ideals instead of worshipping God. Therefore, the dictator
continues to grow up and is educated and inspired by the
wrong ideals of the social-communist spirit. He is the player
of all wars that took place between countries of former
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Yugoslavia, a head of state and an army commander for

decades. His passions were the throne and power, a politician
with a lot charisma.
After the war in Kosova ends The Hague Tribunal
issues a warrant for him and thus he is sent to the Tribunal
where he defends himself splendidly despite of all facts and
accusations directed to him for murdering and massacring
Kosovar Albanians.
With the consent of both world
superpowers his death at the Hague prison is faked and he is
secretly sent to Russia.
Facts
Slobodan Miloevi was born on 20 August 1947 in
Pozharevac, Serbia. He was the President of Serbia from 1989
until 1997 and the President of Federal Republic of
Yugoslavia from 1997 until 2000. In 1990 he is elected as the
leader of the Socialist Party of Serbia (SPS).
He was married to Mira and had two children,
daughter
Marija
and
son
Marko.
On 31 March 2001 he was arrested in Belgrade under the
accusation for the abuse of the official position and
corruption. On the 28 June of the same year he was sent to the
War Crime Tribunal in Hague, where the court process
against him starts for crimes against humanity during the wars
in Croatia, Bosnia and Herzegovina and Kosova in the 90s of
the last century. He died on 11 March 2006 at 09:30h. The
court procedure against him was closed on 14 mars 2006.
Biography
A man around 60 years old who looks younger and is
quite vital, dressed up with a black solemn suit, well lustrated,
full of life and energy. He feels as a winner and is full of selfconfidence. He seems happy and is full of life, in state of
excitement he sings and walks like dancing. His action is
prudent and safe. Full of potency and conviction which when
combined to the positive energy he carries makes him a figure
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to be admired. This is the external figure and the first

impression we get from the figure of the dictator.
Within this great figure full of potential the antipode
of what appears at the first sight is hidden.
After he dies his physiognomy changes. From a great
figure he turns into a small figure, dressed up in ordinary
clothes (prison pyjamas) and a second face which looks like
the face of a poor child who is always the last one in que.
He is harsh, stubborn, coward, very intelligent, skilled
speaker and a good lawyer.
From his first pompous appearance after his death he
turns into a minor figure with the same ego and diabolism, his
figure escalates according to situations he faces and at the end
of play when he gives peace messages, the dictator comes as a
poor man who makes you feel sorry for him.
Psychology of the character: The internal driver that
makes the dictator commit his deeds is his spiritual smallness.
He misses the model of the father, therefore when trying to
find the figure of his father he creates a totally false figure
against what actually exists within him. His relation and
emotional connection to his mother are irregular and full of
dark spaces. Once his mother for him was the model figure,
yet this situation changes by escalating according to
situations. In fact, his emotions towards his mother are mixed
with the feeling of Eros. He inherits the incest gene and this
fact makes his personality even more irregular. The basis for
his worry is the absence of family. He is a child who grew up
without a family without parental and brotherly feelings.
These feelings begin to emerge after he hears the story of the
Kosovar Mother about her children and family.
The relation of the character with himself: He is
ready to sacrifice the whole world to satisfy his ego and his
feelings. This spiritual smallness makes him create an external
figure to be envied by everyone. Being obsessed by his ego he
reaches the pedestal of arrogance; denial of the Creator, denial
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of death, denial of Hereafter, denial of Resurrection. He sees

the death with his own eyes but does not believe in it. This
shows the high level of his ignorance in relation to the Creator
and the Hereafter.
As a character he is the action holder during the
whole play compared to the mother who is the igniter and the
driver of the action.
In love with himself and enslaved by his lust and
passions.
Mother: (ANAMNESIS)
The only child in the family. Parents abandon her at
the age of five, they leave her at the orphanage and
themselves join the voluntary brigades of the socialcommunist system. Her father loves her way to much
therefore in certain situations he abuses her sexually. When
her mother notices this emotional anomaly, pushes her
husband to leave their only daughter at the orphanage and join
the voluntary brigades. Thus, she remains without a family
before she is mature. An expedition searching for young
talents in singing takes her from the orphanage and engages
her in the Pioneers Chorus because of her special looks and
the characteristic sweet voice. Before she turns fifteen she
becomes a singer who entertains the brigades of the Yugoslav
Army. Soon she becomes famous and is selected to entertain
high officers of the Yugoslav Army. Before she is eighteen
she gets pregnant with the Army Marshal. She hides the
pregnancy and does not want to abort. She delivers and leaves
the baby as she had been left by her parents. She continues
like this until she gives birth to her bastard children with
different soldiers of various nationalities in the Yugoslav
Army. She abandons all of them except the dictator to whom
she gives birth when she is quite aged. Now she is old and her
fame is pale, therefore she wants to make her childhood
dream come true, to create a family. Her efforts fail when the
dictator turns eleven. Being tired and disappointed she
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commits suicide. She cannot stand the scary dream she is

having every night, "as if her eighth child is becoming a snake
and swallowing his brothers and sisters whom he doesnt
know. At the end he would swallow his own mother and turn
into flame. She cannot bear the burden and the life sufferings
anymore. She is not ready to tell her son about her fate and of
her children nor about his father. He would ask his mother
everyday about his father and that why he didnt have any
brothers and sisters like other kids. One day the when the boy
comes home from school he finds his mother who has not
woken up from sleep. She used a kind of poison which puts
you to sleep and slowly brings death. Her mystical death
becomes part of the front pages of all newspaper and daily
news. Her burial was followed with a great ceremony, glory
and fame. After passing on to the Hereafter she meets her
parents where accusations and the facing with each other take
place. Whilst the war in former Yugoslavia begins and its son
(the dictator) becomes its statesman, her sufferings in Hell
begin to increase because the killings committed by her son
were falling on his dead mothers back. These sufferings were
becoming worse when he was killing his brothers and sisters
without knowing who they were. All this was happening to
her because she had not told him the truth about her faith and
the false family of the former Yugoslav State.
Mother as a unique notion:
The figure of the mother in the drama "The Hot
Chair" comes as a complex character divided in three lines.
Mother Death, Biological Mother and the Kosovar Mother.
Mother Death is the one who takes in her arms each
man, thus generalizing the figure of the mother as a unique
creature that carries in her the ability of life giving and
taking. These acts join both ends of the human life and occur
without our wish and cannot be avoided.
Biological Mother: is the one who carries the genetic
code and consequences of this code are continuously carried
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from parents to descendants. The Mother as a creature who

brings man into life without her wish carries the burden of
education and motherhood and the creation of the family as a
human obligation. But, even if a mother has never seen her
child their genetic bond is unavoidable, thus each man will
have to face biological parents, if not in this world than in the
next. Hence, like the facing with Mother Death is unavoidable
so is the facing with the Biological Mother.
Model Mother - Kosovar Mother:
It is not a coincidence that the Albanian nation has
resisted the challenges of assimilation by multiple conquests
of nomadic peoples from ancient times to the recent times by
the Slavic nation, nations which have continuously targeted
the Illyrian lands.
It is the Albanian Mother the one who protected and
made the nations cell unbreakable that is the FAMILY.
Therefore, in our case the Kosovar Mother as a
representative of the Illyrian mother derives as a unique
model of a perfect mother. She is committed to taking care
and educating the children, and consequently the family.
Thus, the foreigners have managed to conquer our lands
hundreds of times, to break and dissipate borders but they
have never managed to conquer the basis of our nation, the
Family. Never have they managed to break the code of the
Albanian Family. And this merit belongs to the Albanian
mother. She never accepted to carry in her womb a foreign
genetic code. She never accepted to give birth to children
without s genetic address. Hundreds and thousands of
Albanian mothers sacrificed their life in order to protect their
honour. Thus, the protection of honour and morale of the
family and marriage makes the code of the Albanian mother
UNIQUE.
This is the exact weak point of the dictator who plays
with the worlds statesmen but is strangled by the words of the
Kosovar Mother. She accuses him of destroying her family
156

and the attempts to dishonour her sons bride. The paradox of

this phenomenon lies in the fact that the Kosovar mother first
accuses the dictator for stepping on her honour and then for
killing her family. At this point the spiritual side, the eternity
appears above the material, the temporary.
So, the Kosovar Mother carries in her the epithet of
manhood, beauty, softness, harshness, ethics, morale,
sacrifice and self-sacrifice. Therefore she is given the epithet
of a Model Mother. In this platform the Kosovar Mother
summons the coming of Mother Death, as a consequence of
the attempt of the dictator to kill the voice of the mother the
voice of reason. She brings the dictator to the point zero and
makes hem kneel in front of the mother, the Kosovar Mother
is the one giving the unique message: "By hurting a mother
you hurt all mothers in the world".
Biography - Mother as a unique notion: Is the
personification of love, kindness and gentleness, she is the
creature who brings life in this world. This profile of a mother
on one hand is contradictory and anachronistically the
opposite of Mother Death who brings death. Thus, the
character of the mother lies in two totally different poles, from
birth to death. This way, the character of the mother in the
dramaturgical aspect is an abstract character and often created
by imaginary concepts which during the materialisation of the
play in the scene should be made concrete by presenting the
mother as a human figure in abstract circumstances which
must be made concrete and understandable.
Biological Mother: The event in the Hereafter and
the beginning of the trial are related to the coming of the
Biological Mother in the stage. The first contact with the
dictator (her son) is the removal of the mask from the
dictators face and the appearance of the real face of her son.
Maybe she can also have the burden of a mask, on her neck,
after which she was once hiding.

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She is a woman in her thirties with a breath-taking

beauty.
Wearing a black cloth with a white mark on her chest
in the shape of letter "V" starting from shoulders and the neck
and continuing until the stomach, with gloves in white colour
outside and black colour inside the palm, the footwear is
same. With a radiant look she attracts people immediately.
Her behaviour is prudent as a highly aristocratically raised
person, her voice is sweet and melodic, she speaks clearly and
fluently. Her ANAMNESIS is closely linked to the current
situation. During the whole appearance she deals with the
anamnesis her past and the dark past of her son (the
dictator), now looking from a different perspective from the
one of the real world. She has now repented and waits for
forgiveness and amnesty from the burden of punishment. The
dark part of her character is related to her incest gene, to the
abandonment of her children and ends with suicide, as a seal
of her sins. Whilst the bright and human side of her character
is related to the fact that she never aborted, she never killed
her children even though she was tempted to do so. She gave
birth to eight extramarital children and the seal of her
deliveries was the birth of the dictator who was born with the
"sign of Cain in the neck" who was destined to destroy her
illegitimate family. It is not a coincidence that the dictator is
her last child who lived with her until he became a teenager,
because he carries her culture and at one point says: "Am I not
the missionary of your visions?". Hence, the genocide and the
killer gene of the dictator are inherited from ancestors. Yet,
her character is protected by the fact that she as well inherited
these qualities. She was even forced (trained) to become such
a person, a pledge of passions and wrong ideals of her
ancestors and the system in which she had lived. She carries
the epithet of a mother because she gave birth eight times but
she lacks the epithet of the family pillar, which is The Mother.
However, she never managed to create a family. Even the way
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she raised the dictator in the beginning resulted with the

creation of a monster of its kind. Therefore, accusations made
to the dictator are also accusations for his mother. The
difference between her and the dictator is that she never killed
anyone. But she produced a killing machine that destroyed
hundreds of thousands of families with no exception even for
the children of his mother. Killing a brother, sister or mother
is the heaviest damnation because there is a different
punishment for the killing of a family member compared to
the killing of another person according to circumstances. In
this context, the burden of killing his brothers and sisters by
the dictator falls on the back of the Biological Mother,
because she gave birth and left them without an address. She
didnt manage to create a family, she didnt manage to gather
them and enable them to exchange the feelings of brotherhood
love. From the psychological aspect it is the absence of these
feelings and the emptiness created that made the dictator
become such a character.
The character of Biological Mother is a synonym of
the Yugoslav State whilst her bastard children are a synonym
of republics and provinces that comprised the Yugoslav state.
A large family built on unsustainable foundations. Countries
established "ad hoc" without an address like the families of
the children made by the dictators Biological Mother, which
are made up and constructed on healthy foundations of the
family and the society.
Kosovar Mother Mothers Chorus
Dressed in black, followed by other mothers.
She has a deep and penetrating look, a noble attitude
and characteristic voice. For a difference from the Biological
Mother she makes one admire her, not because of her beauty,
but because of the nobility and spiritual purity which she
reflects.
The Kosovar Mother is a symbol of a unique mother.
In the play The Hot Chair the treatment of the mother begins
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and ends with the appearance of the Kosovar Mother. She is a

synonym of a mother which gives birth, raises and educates
children and creates a family. She also reflects these attributes
to her sons bride who keeps her child until she dies and does
not stop breastfeeding the baby even though her breasts are
emptied, for a difference from the Biological Mother who lets
her children be raised by the world. She does not commit
suicide because she does not allow that her child remains
without parental care and protection. Another point is the
preservation of the morale and honour as a high human virtue.
So, the Kosovar Mother even though "uneducated" she
dominates over the figures of the worlds statesmen with her
intellect. She is less arrogant and much more refrained in
relation to the dictator and the Biological Mother. Both
mothers accuse the dictator for the killing of their children in
different ways and circumstances. Accusations that the
Biological Mother directs to the dictator piss him off even
more. Her story about the past does not cure the soul of the
dictator but makes him even more sick, whilst the story of the
Kosovar Mother and her accusations bring the dictators
human side back.
So, the Kosovar Mother is the personification of a
Model Mother which does not remain an archetype model,
rather as such, is visible also in the Mothers and Daughters
Chorus who follow the Kosovar Mother. This is clarified in
her story; within the tower-house all mothers, brides and
daughters of the village gathere to protect and save the only
male-born who is still alive in the village.

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RELATIONS BETWEEN CHARACTERS

The dictator: He feels superior in relation to the
worlds prominent figures with whom he communicates
through the radio transistor and talks to them as a fishermen to
a flock of fish which he has caught in the network and looks
at them from the boat making fun of them. Whilst the relation
to his mother is an escalated relation tackled in three lines.
~He denies and ignores Mother Death in an arrogant
way as if she was a prostitute seducing him.
~In relation to the Biological Mother he is unstable
and inconsistent. The feelings and love towards her are mixed
between lust and motherhood feelings. He accuses her to free
himself from blame. However, the symbol and model of life
which remains is exactly the figure of his mother. This is
proved with the sentence: Am I not the missionary of your
visions?. All this emotional depravity ends with the hate
towards the Biological Mother and accusations towards her.
~The dictator begins with hate towards the voice of
the Kosovar Mother which is the personification of the voice
of reason but he ends up admiring her figure. In the Kosovar
Mother he finds what he had missed and searched for all his
life, he finds the model of the FAMILY. Thus, the love of
Kosovar Mother shown to her family and the protection of the
family under any condition makes even the dictator turn back
to human side and admire her.
Only at the end, after the dictator becomes aware and
begins to believe in the Judgement in the Hereafter, which
means he begins to believe in God. Therefore, he begins to
give peace messages to humans from the Hereafter.
Mother: The character of the mother is tackled in
three profiles, three lines. In all three cases the mother shows
mercy for the boy.
~Even though Mother Death comes with a clear
gloomy mission as death itself is, she continues to show
mercy and tries to give the dictator the last chance for
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repentance. Even when the dictator reacts harshly and tries to

kill the Mother she does not respond violently but with a cool
scenic action which makes the dictator die.
~Likewise, the Biological Mother who carries the
whole burden of the dictators actions shows her mercy. She
accuses the dictator for killing her children and the conflict
between these two characters which have quite intimate
relations starts with an incest kiss and ends with damnation
and strangling of one another. Yet the mother says: "I tried to
judge you with the mercy of a mother ".
~The Kosovar Mother in the field of verbal
communication is strict and determined in relation to the
dictator. She gives him a lesson in oratory as well as in human
codes and criteria. Her hoarse and stuttering voice in the first
communication transmitted through the transistor, dominates
over the voices of all words statesmen. Whilst in her second
appearance she manages to give a strong psychological hit to
the dictator. And she reaches this through softness and human
love when she speaks about her family, children and
grandchildren. Thus, by exposing the virtues of her children
along with the vices of the dictator she arouses the human
feelings deeply locked in the unconsciousness in the
hibernating subconsciouness of the dictator to the level when
the dictator who denies Mother Death and curses his
Biological Mother, begins to beg the Kosovar Mother to
accept him as her own child. On this occasion, when these
two abstract characters almost touch each other the Kosovar
Mother clearly differentiates the virtues of her patriotic sons
who protect their homes, on one side, and the dictators vices
who has an usurpation tendency on the other hand. The
Kosovar Mother at the end of the dialogue carries a unique
message by generalizing the figure of the mother as a unique
figure with the sentence: "I am a mother. By hurting a mother
you hurt all mothers in the world".
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FROM EXPOSITION TO ACTION PLANNING MESSAGE

- The voices of mothers and hymns of both
superpowers together with the coming of the dictator in the
stage and the facing with world figures make the Exposition
of the play.
'A dramaturgic turn is marked with the appearance of
the voice of the Kosovar Mother.
-The coming of Mother Death to face the dictator
until his death marks the entrance to the Composition of the
play.
'Removal of the mask is the second dramaturgic turn
in the play.
- The placement of the boy in the hot chair and his
facing with the Biological Mother represent the Composition
Action Planning which is otherwise understood as the story
structure (dramatic measure drama event).
'Burial ceremony physical burial of the dictators
body is another dramaturgic turn within the play.
- Facing himself marks the peak within the dictators
character; and prepares the plays culmination which occurs
when the Kosovar Mother accuses the dictator for destroying
her family, whilst he asks her to accept him as her own son.
-Generalisation of the figure of the mother in the
sentence: "By hurting a mother you hurt all mothers in the
world", marks the action planning within the play which
ends with the verdict that the trial will never end.
-The closing monologue where the dictator gives
peace messages from the Hereafter for humans is the message
of the play and the full demystification of the dictators figure
that remains a pledge of the hot seat forever.
- The awaiting for the new destination is the last
dramaturgical turn which leaves an open possibility of
commenting accordingly.

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(If the play is to be realised in the expanded version

then there will be three narrative imaginary situations with
the figures and voices of mothers. The first situation develops
at the beginning, the second situation when the dictator dies
and the third situation ends the play leaving the trial of the
dictator open for eternity. These three situations are not a
part of the regular structure of the play but may be added as
accessories and spices which further decorate this drama as a
drama of the absurd.)
Because of the volume the story structure, naming of
scenes, situations and micro-situations associated with the
clarification of situations and detailed micro-situations shall
not be included in the publication. Copyright platform carries
the author.
The Author

164

Sokol Plakolli Lindi n fshatin Letanc,

komuna
e
Besians.
Shkolln fillore dhe t
mesmen
i
kreu
n
vendlindje. U regjistrua n
Akademin e Arteve n
Prishtin n vitin 2001 n
degn e aktrimit ku edhe
diplomoi n vitin 2003 n
klasn e prof. Enver
Petrovci.

Sokol Plakolli -He was born in village Letanc in the

Municipality of Besiana were he attended the primary and the
secondary school. Then he enrolled in the Academy of Arts in
Prishtina in 2001 to study acting and he graduated in 2003 in
the class of professor Enver Petrovci.
N vitin 2002 n Prishtin Themeloi shkolln e
Arteve pr fmij dhe t rinj Filizat. Pastaj u regjistrua n
Fakultetin e Arteve n vitin 2004 n drejtimin Regji Teatri,
ku edhe diplomoi n vitin 2007-2008. Diplomoi n vitin
2010-2013 n studimet pas-diplomike n fushn e Regjis
Teatrore me veprat e Ismail Kadares: Laokonti dhe
Poezit, Shkaba, Ura me tri harqe, Princesha Argjiro,
Hekuba, Gjenerali i Ushtris s vdekur t dramatizuar n
shfaqjen eksperimentale SHKABAT.
In 2002 in Prishtina he founded the School of Arts for
children and youth Filizat. He was enrolled in the Faculty
of Arts in 2004 to become a Theatre Stage Director, where
he graduated in the year 2007-2008. During 2010-2013 he
165

continued the studies in Stage Directing with the works of

Ismail Kadare: Laokonti and the Poetry , Shkaba, The
Three-Arched Bridge, Princess Argjiro , Hekuba, The
General of the Dead Army dramatized in the experimental
play Shkabat.
Aktualisht sht n prgatitje t punimit t
doktoraturs n lmin e fjals skenike. Ka themeluar dhe
udhheq organizatn SHKABAT e cila merret me
promovimin e kulturs tradicionale.
Currently he is working on his doctoral thesis in the
field of stage speech. He has founded and continues to
manage the organisation SHKABAT which promotes the
traditional culture.
sht autor i disa dramave dhe skenarve, ndr t cilat
veojm: Fundi i fillimit, ndrrimtart e Harruar,
,,Heroina, Droga vret, Karrigia e nxeht, Kush po i
sjell mickojat n Kosov, E vrteta (teatri eksperimental 7
ARTET), Bota nga perspektiva e krmillit, Libri i pa
botuar.
He is an author of several dramas and scripts which
include The end of the beginning, The Forgotten
Dreamers, ,,The Heroin, Drugs kill, The Hot Chair,
Who is bringing you mosquitoes in Kosova, The Truth
(experimental theatre 7 ARTS), The World from the snails
view, The Unpublished Book.
sht autor i dhjetra kritikave dhe vshtrimeve n
lmin e Teatrit, shkruan edhe poezi. Disa nga shfaqjet e
realizuara si regjisor jan: Komedia e keqkuptimeve,
Tregtari i Venedikut, Heroin, Kush po ti sjell mickojat
n Kosov, Droga Vret, ndrrimtart e harruar,
Raketa, Dy ditlindje, Semafori i prishur, Kompania
e Riciklimit, Fundi i Fillimit, Me dyer t mbyllura,
166

Histori pa Histori, Tregtari i varreve, Tregimi

Zoologjik , Mos e frikso aktoren, mbyte, Mos harroni,
Laokonti, Shkele, mos e shkel, Zoti sht
Vendimmarrs, Improvizim loj ritual, Shkabat, Dasma
dhe Morti (shfaqje n proces).
He is also an author of dozens of critiques and
observations on theatre plays and he writes poetry. Some of
the realised plays directed by him are: TheComedy of
Misconceptions, The Merchant of Venice. The Heroin,
Who is bringing you mosquitoes in Kosova, Drugs kill,
The Forgotten Dreamers, The Rocket , Two Birthdays,
The Broken Traffic Lights, The Recycling Company, The
End of the Beginning, With Closed Doors, History
without History, The Graveyard Merchant, The
Zoological Story , Do not intimidate the actress, kill her,
Dont forget, Laokonti, Step on it, dont step on it,
God is the Decision-maker , Improvisation play ritual ,
Shkabat, Wedding and Death (play in process).
Shfaqjen Shtpi kukulle e ka realizuar n Tiran n
Teatrin Metropol n vitin 2012, n Teatrin Kombtar t
Kosovs n vitin 2013, n version eksperimental si vepr e
plot n vitin 2014. Njherazi sht autor dhe regjisor i
shfaqjes Karrigia e nxeht.
The play House of Dolls was realised in Tirana at
the Metropol Theatre in 2012 and at the National Theatre of
Kosova in 2013 in the experimental version as a full play in
2014. He is also the author and director of the play The Hot
Chair.

167