Anagnorisis / ἀναγνώρισις

SQ: Anagnorisis – Përfaqëson çastin e njohjes së papritur në një vepër letrare (sidomos në tragjedi), kur një personazh: zbulon një të vërtetë thelbësore; kupton se kush është me të vërtetë dikush (ose kush është ai vetë); kupton natyrën e vërtetë të situatës së tij. Është një pikë kthese e fuqishme që ndryshon kuptimin e personazhit dhe shpesh rrjedhën e veprimit.

RO: Anagnorisis este momentul de recunoaștere bruscă dint-o operă (în special tragedie) când un personaj: descoperă un adevăr esențial; realizează identitatea reală a cuiva (sau propria identitate); înțelege adevărata natură a situației în care se află. Este un punct de cotitură cognitiv și emoțional, care schimbă cursul acțiunii.

EN: Anagnorisis – It refers to the moment of sudden recognition in a literary work (especially tragedy) when a character: discovers an essential truth; realizes who someone truly is (or who they themselves are); understands the true nature of their situation. This is a powerful turning point that changes the character’s understanding and often the course of the action.

YT

Dritare

 

Si nën qiell / Ca sub cer / Like under the Sky – fragment

 

Rrëfilm nga A.-Ch. Kyçyku

Në rolin e Dëshmitarit (VO): Ligoraq Riza

 

[SQ]

Poemat tingëllonin pakashumë si më poshtë vijon:

Një cigare pa filtër / një kafe me sheqer / një çaj /

Një mollë / dy hurma farëzeza / një fletë aritmetike /

Dhjetë lekë të vjetra / pesë lekë të reja / një dollar /

Tre libra të hollë / dy libra të trashë / s’ka rëndësi autori tani /

Një penë / dy kallamare / një stilograf / një bombone

Një stemë / njëzet pulla / qeni laraman / kanarina /

Dylbia me një sy, monokli me dy lente, pena e kaltër / një shëtitje me varkë /

Dy maja pene / bluza e gjelbër / një penel / një fletore vizatimi

Unaza prej argjendi / dy varse / tri palë vathë / kravata me xixa /

Katër unaza ari / dy me gurë të çmuar / një me kokë shqiponje /

Një me kokë gjarpri / një sandviç / dy ullinj / një kanë / tetë pjata /

The Rivers of the Sahara - a novel

 

[Original title: Lumenjtë e Saharasë]

Translated from Albanian by Ukë Zenel Buçpapaj

Digital edition

I learned the word ‘birth'

 

THE DAY OF FAREWELL 

13. I encountered deeply ingrained issues. I had been talking to myself for who knows how long, and with each uttered word, I learned new ones. I learned the word ‘birth,’ the word ‘issue,’ the phrase ‘deeply ingrained,’ the word ‘speak,’ the word ‘perhaps,’ the phrase ‘for how long,’ the phrase ‘to oneself,’ the conjunction ‘and,’ the word ‘conjunction,’ the word ‘after,’ the word ‘every,’ the word ‘word,’ the word ‘thus,’ the word ‘learn,’ the word ‘news,’ the word ‘phrase,’ the word ‘enough,’ and many more and many more. Otherwise, how could I even speak, even if just to myself? In truth, the words were the same, but to me, they felt different, entirely different, and I relearned them from scratch, as if they were completely new. However, I managed to open my eyes—somehow, who knows how—and beheld five white walls. Excluding the floor, which was behind me since I was lying down, there were five white walls in the room. It was fortunate there weren’t more than five, because even if there were, they would still be just walls.

Si nën qiell

 

[SQ]… se dashuritë vinin e iknin. Se kishin kaluar kushedi sa vite, sa ftesa, sa thirrje, sa vaje, sa njerëz, sa filma, sa humbje shpresash, dhe pangopja jonë me njëri-tjetrin edhe shkencërisht mund të dëshmohej ç’ishte, si më poshtë vijon: O përçmim, urrejtje e pashpjegueshme dhe hakmarrje ndaj tyre, O sëmundje e pastudiuar sa duhet e, rrjedhimisht, pa ilaç, a më keq akoma: pa shërim O dashuri e çmendur ndaj vetes sonë, O vdekje O diçka tjetër, që nuk gjen përgjigje. Ne sollëm edhe një herë ndërmend, pa ia shkëputur sytë njëri-tjetrit, se trupat s’dihej ku i kishim dhe a i kishim më; kujtuam me një mall te panjohur e me një dhembshuri përtej moshës fillimet e asaj ngjarjeje dhe vargjet më të ndjerë të asaj poeme. / Si nën qiell * [RO] … că iubirile veneau și se duceau. Căci trecuseră cine știe câţi ani, câte invitaţii, câte strigăte, câte bocete, câţi oameni, câte filme, câte pierderi de speranţe, și neputinţa noastră de a ne sătura unul de celălalt se putea explica inclusiv știinţific, vasăzică: Ori dispreţ, ură inexplicabilă și răzbunare faţă de ei, Ori boală insuficient cercetată și, implicit, fără leac, sau mai rău: incurabilă, Ori dragoste nebună faţă de noi înșine, Ori moarte, Ori altceva care nu găsește răspuns. Noi ne-am adus încă o dată aminte, fără a ne lua privirile unul de la altul, că nu se știa unde ne aveam trupurile și dacă le mai aveam undeva; ne-am amintit cu un dor necunoscut și cu o duioșie dincolo de vârstă, de începuturile acelei întâmplări și de cele mai sensibile versuri ale acelui poem. / Ca sub cer *

[EN] ... that love came and went.
For who knew how many years had passed by, how many invitations, how many cries, how many wailings, how many people, how many films, how many losses of hope, and our inability to tire of each other could be explained scientifically even:
Either disdain, unexplainable hatred, and revenge against them,
Or an understudied disease, and implicitly, without a cure, or worse: incurable,
Or mad love for ourselves,
Or death,
Or something else that can’t find an answer.
We remembered once more, without taking our eyes off each other, for we didn’t know where our bodies were or if we still had them somewhere; we remembered with an unknown yearning, and with a tenderness beyond age, of the beginnings of that story, and of the most sensitive verses of that poem. / Like under the sky [Translated by Monica Vișovan]

*

[IT] ... perché gli amori venivano e andavano. Perché erano passati chissà quanti anni, inviti, chiamate, pianti, persone, film, perdite di speranze, mentre la nostra  insaziabilità reciproca anche scientificamente poteva essere dimostrata che cosa era, come segue: O disprezzo, odio inspiegabile e vendetta contro di loro, O malattia non abbastanza studiata e, di conseguenza, senza medicine, o peggio ancora: senza guarigione O folle amore per noi stessi, O morte O qualcos'altro, che non trova risposta. Noi abbiamo evocato ancora una volta, senza levare gli occhi di dosso a noi stessi, perché non sapevamo dove fossero i nostri corpi e se li avevamo ancora; abbiamo ricordato con un desiderio sconosciuto e con una compassione oltre l'età gli inizi di quell'evento ed i versi più sentiti di quella poesia. / Come sotto il cielo [Translated by Kopi Kyçyku] * [DE] … Denn es sind ja schon so viele Jahre, so viele Einladungen, so viele Rufe, so viele Wehklagen, so viele Menschen, so viele Filme, so viele Hoffnungsverluste passiert, und unsere Unersättlichkeit aufeinander konnte wissenschaftlich auch als folgendes beschrieben werden: Entweder Verachtung, unerklärlicher Hass und Rache an ihnen, Oder eine nicht ausreichend erforschte Krankheit, und folglich ohne Medikamente oder noch schlimmer, unheilbar Oder eine Wahnsinnsliebe zu uns selbst, Oder der Tod Oder aber etwas anderes, worauf es keine Antwort gibt. Wir haben uns noch einmal in Erinnerung gebracht, ohne die Augen voneinander zu lassen, dass wir nicht wissen, wo wir unsere Körper haben und ob wir sie noch haben, und wir haben uns mit einer unbekannten Sehnsucht und mit einem Mitleid jenseits des Alters an die Anfänge jenes Ereignisses und an die innigsten Verse jenes Gedichts erinnert.” / Wie unter dem Himmel *

Script, graphics, editing: Ardian-Christian Kyçyku

VO: Ligoraq Riza

A KeynemaHouse production

© All rigts reserved

ParalleLiterature - a presentation

 

Curriculum Vitae - English

Ardian Kycyku – Pen names: Ardian-Christian Kyçyku / Kuciuk, writer in the Albanian and Romanian languages, born on the 23rd of August 1969, Pogradec, Albania. Author of many original books (novels, short stories, plays, scenarios, scientific studies, essays, anthologies, translations).
Bachelor of Arts at the Tirana University (Albania), Faculty of History and Philology (Albanian Language – Albanian and Universal Literature, 1991, Diploma’s work: ‘Stefan Zweig and Sigmund Freud – communions and differences’) 
Doctor in Comparative and Universal Literature at the Bucharest University – ‘Directions in European Modernism and their Echo in the Interwar Period of Albanian Literature’ (1998) 
University Professor (since 2014; Semiotics and Communication / The Research Methodology) 
Certificate of Qualification (Habil., since 2025) in the field of doctoral studies in Theatre and Performing Arts
Between 2008 and 2020 he was a dean and a rector in Bucharest 
Since 1998 he is the co-founder and co-director of European Review “Haemus”, which has an archive of over 9.500 pages, and of Librarium Haemus Editions. 
Founding member of the Albanian Cultural Association “Haemus”
 
B o o k s written and published in Albanian 
In the empire of stone, novel, Tirana 1993
The Deathers, novel, Pristina1998, Tirana 2020
The Night After Year Zero, novel, Pristina 1999
The Muse of the Game, trilogy, Bucharest 1999
The Translation or the Life of a Slave that doesn’t Swear He Can See, novel, Bucharest 1999
The Rivers of the Sahara, novel, Tirana 2000, Bucharest 2010, Pristina 2017
The Appetite for Heaven Bread, novel, Tirana 2000
Diva or Flowers Devourer, novel, Elbasan 2000
Useless Angels, novel, Pristina 2002
The Crystal and the hyenas, novel, Pristina 2002, Bucharest 2015
Eye/s, novel, Bucharest 2004, Pristina 2005, Tirana 2008
The conquest of Crazystan, short stories, Pristina 2004
Instead of Eternity, play, Pristina 2007
Home, novel, Pristina/ Berlin 2014
Kiss Me You, Skeleton, Bucharest 2007
The viceBook, play, Bucharest 2007
The Neutral Blood, play, Bucharest 2008
The Father, novel, Bucharest 2008, Tirana 2017
Your Excellency, play, Pristina 2009
One world away, play, Bucharest 2012
Pearl/s, selected short stories, Pogradec 2012
Unseen stories, short stories, Pristina/ Bucharest 2013
Ki$land – a novel with childhood, Tirana 2014
Like, play, Bucharest 2016, Pristina 2017
Trialogue [an interdisciplinary work regarding the links between literature and exile and the languages it chooses in order to protect Memory and Metaphor], in Albanian, with abstracts in Romanian and English, Bucharest 2016, work-in-progress
Incógnito [Fragments from the life of guardians and vice versa], novel, Tirana 2016
The Threshold or Death writes with two hands, novel, Bucharest 2019
Homo ex machina – three plays, 2019
Anonima or Tirana in the shadow of a passenger, 2020
Childhood cr(imes)eations, 2021
Zo-om, novellas, 2023
The Doublebook, 2025
 
B o o k s written and published in Romanian 
The year in which the Swan was Invented, novel, Bucharest 1997
The Sweet Secret of Madness, 33 proses + 22 original graphics, Bucharest 1998
A Glorious and Dying Tribe – The Saga of an Oblivion, Bucharest 1998
Love at Last Sight, stories and a play, Bucharest 2000
Epigone God, monograph, Timisoara – Bratislava, 2000
Trilogy, three novels, Bucharest 2002
Time of the Substitutes, interview, Bucharest 2003
Siege – a novel with very few inverted commas, Bucharest 2004, 2007
Ex – novel with love & conspiracy, Bucharest 2008, 2010
Introduction to Semiotics, university lectures, Constanta 2005
The Signs and the Citadel, university lectures, Bucharest 2007
Empatycon or The Book of Premature Life, novel, Bucharest 2008
Space for a only one doll – a film to be narrated / a story to be filmed, Bucharest 2008
The sky in an envelope – a film to be narrated / a story to be filmed, Bucharest 2010
Casting or the Curtain doesn't separate anything anymore, play, Bucharest 2011
My last Million, anthology of Balkan literary texts, 2013
Comunicare in-humanum est, interdisciplinary studies, Bucharest 2014
Outism and Insomnia, interdisciplinary studies, Bucharest 2014
The Epocalypse, novel, Bucharest 2014
Instead of Eternity, play, 2015
A grammar of Exile [in two "foreign" languages], essay, 2015
The genre – a play with an act and a murder, play, 2019
The Prompters’ exodus – stereodrama, 2022 
The Print(ing)house, monodrama, 2022
The Co-author – broken poems, 2023
The last people filmed, theater, 2024
Boundaries between the Theater of Existence and the Existence of Theater – a semiotics of Ingmar Bergman's vision as a theater man, 2025
A ɸ (in Romanian it also means To be) or A Millimeter of Grace, screenplay / dramatic text, 2025 

Between 'us' and 'ourselves' or A manual for relearning the name – an inter- and trans-disciplinary study, 2025

 
Academica 
 
Translations
An alphabet of Albanian poetry (anthology, 101 Albanian poets in Romanian), Bucharest 2003
Events in immediate unreality (Max Blecher, Întâmplări în realitatea imediată - Ngjarje nga zhgjëndrra e tanishme, in Albanian), Tirana, 2024
Events in immediate unreality (Max Blecher, Întâmplări în realitatea imediată - Ngjarje nga zhgjëndrra e tanishme, in Albanian), Tirana, 2024
The Floating Library, Arian Leka, author anthology, translated from Albanian and including critical apparatus, Charmides Publishing House, Bistrița, 2017 
Mihaela, the Tiger of Our City (Mihaela, tigresha e qytetit tonë) Gianina Cărbunariu – play, translation included in the anthology My Name is Balkan, Tirana 
Amalia Breathes Deeply (Amalia merr frymë thellë) Alina Nelega – play, translation and presentation, in the anthology My Name is Balkan, Tirana 
War in the Time of Love, Jeton Neziraj play, translation and presentation, Haemus Magazine 
Anthology of Albanian Poetry, translated into Romanian, project supported by the EU, 2000 
Anthology of North Macedonian Poetry, translated into Romanian, project supported by the EU, 2000 
 
* Books and / or fragments translated inHungarian, Italian, English, German, Serbian, French, Greek etc.  
 
Long, medium and short film scripts 
The Supplement – The Movie of a Return / The Return of a Movie (AL), The Rhyme (AL), A Guide (RO), Relationshop (RO) – film / ballet play, Sticking (RO) 
Short Eastories (cycle of scripts for feature films: Pas, The rest is Theater, Vox, - 2023, ro., work in progress) 
 
Short and very short films (as Scriptwriter, Cinematographer and Editor) 
A bridge, Lines, The Seat, Barlove, A lesson, the Point, Librorum, Umbra ex machina, Dearection, Tubim (rrëfilm – AL) / Assembly, A Facemap, Lost masterpiece/s, Mirrors in progress – A short semiotic view on the Ingmar Bergman phenomenon, il filo / figlio del sogno, the viceBook, the Seeners, the Indeependance, Prompter's exodus, Grace, Rope, Shadow's Theoreme, Like under the Sky, Writing, Codex, The Art of Blindness, Φshing, Syziphos, Window-s  – on Youtube: https://www.youtube.com/@arkycyku

Videolectures: https://keynema.blogspot.com  
 
[Awards and honors: National Literary Prize of Albania ‘Silver Pen’, Tirana 2012; Honorary Citizen of Pogradec 2014; Kult Academy Prize ‘The best book / The best author’, Tirana 2015 and 2018; Grand Prix at Très Court International Film Festival – Cluj-Napoca 2017]

Paralleliterature

References

Catalogue

"Parallel literature" - a conversation

Interviewed by Arta Marku Qëndro 

– ‘I need to tell a story. It's an obsession. Each story is a seed inside of me that starts to grow and grow, like a tumor, and I have to deal with it sooner or later.’ This is how Isabel Allende replies when asked why she writes. I think it is the kind of answer that can be given by all writers. Everything must start from the need to tell a story. But this one here is an irrational terrain, so let’s start the conversation from a clearer and more easily explicable space: your beginnings as a writer. Because there must be a moment that you discovered this inner need. How would you describe the moment of discovering a writer in yourself - the moment you realized the need to tell a story?  

Before it is a need, it is an almost a childish desire, but not to amaze anyone. It's like an invitation to discover, eyes closed, together with someone (whom you often neither know, nor see, nor will ever meet) things that are extremely vivid and yet invisible, neglected for entirely ordinary or even unjust reasons. I have started writing very early, but I always distinguish the winter of 1985 in Poradec[1]. That setting reminds me of a beautiful death, which seemed to surpass even life itself in many ways. Looking through the eyes of experience, it seems to me that the events that insist on being narrated are those whose ‘longevity’ in the memory is not guaranteed. This also awakens a compassion without which literature cannot live a very long life. 

Teatër / Teatru / Theater

Tituj / Titluri / Titles

 

Coafura sfinților (The Hairstyle of the Saints, Berberana e shenjtorëve, 1998, ro.)

Dragoste la ultima vedere (Love at Last Sight, Dashuri me shikim të fundit), theater and prose, 2000, ro.)

zv.Libri – copëza jete a letre frymëzuar nga Teatri (The viceBook – fragments of life or of paper inspired by Theater, viceCartea – frânturi de viaţă sau de hârtie inspirate de Teatru 2008, sq.)

Gjaku asnjanës – jetë suflerësh (Neutral Blood – life of prompters, , Sângele neutru – viaţă de sufleuri, 2008, sq.)

Shkëlqesi – 5 pamje nga pasqyra (Excellence – 5 images from the mirror, Excelenţă – 5 imagini de la oglindă 2009, sq.)

 

Në vend të përjetësisë (Instead of Eternity, În loc de veşnicie, 2010, sq.)

Casting sau Cortina nu mai separă nimic (Casting or The Curtain No Longer Separates Anything, Casting, ose Perdja nuk ndan më asgjë, 2013, ro.)

Një botë më tutje (One World Beyond, O lume mai încolo, 2013, sq.)

Si (How, Cum, 2018, sq.)

Homo ex machina 

I. Pantomima, ose Të fshehta nga jeta e prijësve (Pantomime or Secrets from the Lives of Leaders, Pantomima sau Taine din viața conducătorilor)

II. Pakica – ngjarje me 15 pamje dhe me disa lloje perdesh (The Minority – an event in 15 scenes and with several kinds of curtains, Minoritatea – întâmplare cu 15 scene și cu câteva genuri de cortine)

III. Një si piano (Something Like a Piano, Ceva ca un pian, 2019, sq.)

Genul – piesă cu un act și un omor (The Gender – a play with one act and one murder, Lloji – pjesë me një akt e më një vrasje, 2019, ro.)

Exodul sufleurilor – stereodramă (The Exodus of the Prompters – stereodrama, Eksodi i suflerëve – stereodramë, 2022, ro.)

Tiparnița – monodramă (The Printing House – monodrama, Shtypshkronja – monodramë, 2022, ro.)

Ultimii oameni filmați (The Last People Filmed, Njerëzit e fundit që u filmuan, 2024, ro.) 

 

Synopsis 

RO: Dramaturgia lui Ardian-Christian Kyçyku / Kuciuk

- adresată ”unui singur spectator”, scrisă în primul rând ca să fie citită, nu neapărat pusă în scenă, funcționează ca o extensie a universului său epic, fiind un spațiu al experimentului filosofic, al dialogului și al confruntărilor directe cu ceea ce este incontrolabil pentru ființa umană. Principalele trăsături ale teatrului său ar fi:

· Un teatru al ideilor: Piesele sale sunt mai puțin axate pe acțiune fizică și mai mult pe duelul de idei. Dialogurile sunt adesea eliptice, pline de subînțelesuri, amintind de stilul lui Samuel Beckett sau Eugen Ionesco, dar cu o amprentă balcanică specifică;

· Minimalismul Scenografic: Multe dintre piesele sale (cum sunt, de pildă ”Exodul sufleurilor – stereodramă”[1] sau ”Genul – piesă cu un act și un omor”) se bazează pe o economie de mijloace. Accentul cade pe prezența actorului și pe forța cuvântului, transformând scena într-un laborator de disecție a psihicului uman;

· Tema Puterii și a Captivității: Un subiect recurent este individul prins în mecanisme de control, fie că sunt politice (dictatura), birocratice sau metafizice. Personajele sale se simt adesea "asediate" sau captive într-un spațiu din care nu pot evada decât prin credință în Dumnezeu, moarte sau nebunie;

· Dimensiunea Teologică și Etică: Spre deosebire de teatrul absurdului pur nihilist, dramaturgia lui Kyçyku caută adesea un sens moral sau o ieșire spre sacru. Conflictul se dă frecvent între degradarea umană și dorința de mântuire.

· Limbaj și Meta-teatru: Autorul explorează frecvent ideea de "teatru în teatru", sugerând că existența însăși este o reprezentație mascată. Personajele își conștientizează uneori rolurile, transformând piesa într-o reflecție asupra procesului de creație. 

SQ: Dramaturgjia e Ardian-Christian Kyçykut / Kuciuk

- i drejtohet "një spektatori të vetëm”. Shkruar kryesisht për t'u lexuar, jo medoemos për t'u vënë në skenë, ajo funksionon si një zgjerim i universit të tij epik, duke qenë një hapësirë e eksperimentit filozofik, e dialogut dhe e përballjeve të drejtpërdrejta me atë që është e pakontrollueshme për qenien njerëzore. Karakteristikat kryesore të teatrit të tij do të ishin:

· Një teatër idesh: Pjesët e Kyçykut janë më pak të përqendruara në veprimin fizik dhe më shumë në duelin e ideve. Dialogjet janë shpesh eliptikë, plot nënkuptime, që të kujtojnë stilin e Samuel Beckett-it ose Eugène Ionesco-s, por me një frymë të dallueshme ballkanike;

· Minimalizmi skenografik: Shumë prej pjesëve të Kyçykut (si për shembull Eksodi i suflerëve – stereodramë apo Lloji – pjesë me një akt e më një vrasje) mbështeten në mjete të kursyera. Theksi bie mbi praninë e aktorit dhe mbi fuqinë e fjalës, duke e shndërruar skenën në një laborator për zbërthimin e psikikës njerëzore;

· Tema e pushtetit dhe e robërisë: Një temë mjaft e pranishme është ajo e individit të kapur në mekanizma kontrolli, qofshin ata politikë (diktatura), burokratikë apo metafizikë. Personazhet e Kyçykut shpesh ndihen "të rrethuar" ose robër në një hapësirë nga e cila nuk mund të shpëtojnë veçse përmes besimit në Zot, vdekjes ose çmendurisë;

· Dimensioni teologjik dhe etik: Ndryshe nga teatri absurd tejet nihilist, dramaturgjia e Kyçykut shpesh kërkon një kuptim moral ose një rrugëdalje drejt së shenjtës. Konflikti zhvillohet shpesh midis degradimit njerëzor dhe dëshirës për shpëtim;

· Gjuha dhe metateatri: Autori eksploron shpesh idenë e "teatrit brenda teatrit", duke prcjellë bindjen se vetë ekzistenca është një shfaqje e maskuar. Personazhet ndonjëherë vetëdijësohen për rolet e tyre, duke e shndërruar pjesën në një reflektim mbi procesin krijues.

 

EN: The dramaturgy of Ardian-Christian Kyçyku / Kuciuk

- addressed to "a single spectator", written primarily to be read, not necessarily to be staged, functions as an extension of his epic universe, being a space for philosophical experimentation, dialogue, and direct confrontations with what is uncontrollable for the human being. The main features of his theater would be:

·  A theater of ideas: His plays are less focused on physical action and more on the duel of ideas. The dialogues are often elliptical, full of subtext, reminiscent of the style of Samuel Beckett or Eugène Ionesco, but with a specific Balkan imprint;

·  Scenographic minimalism: Many of his plays (such as, for instance, The Exodus of the Prompters – stereodrama or The Gender – a play with one act and one murder) rely on an economy of means. The emphasis falls on the actor's presence and the power of the word, transforming the stage into a laboratory for dissecting the human psyche;

·  The theme of power and captivity: A recurring subject is the individual caught in mechanisms of control, whether political (dictatorship), bureaucratic, or metaphysical. His characters often feel "besieged" or captive in a space from which they can only escape through faith in God, death, or madness;

·  The theological and ethical dimension: Unlike the purely nihilistic theater of the absurd, Kyçyku's dramaturgy often seeks a moral meaning or a path toward the sacred. The conflict frequently takes place between human degradation and the desire for salvation;

·  Language and meta-theater: The author frequently explores the idea of "theater within theater", suggesting that existence itself is a masked performance. Characters sometimes become aware of their roles, turning the play into a reflection on the creative process.

Source: internet

 

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[1] Cuvânt creat de autor / Word Created by the Author / Fjalë e krijuar nga autori.

Bio in English