Anton Pashku's dramaturgy on the existence of absurd society

By: Haqif Mulliqi

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The Albanian drama of the last three decades of the 20th century was developed through a type of intertextuality and experimentation from a new subject which was strongly influenced by foreign literature, but also by Albanian culture and mythology and history. In this drama, which was printed with his works by the modern prose writer, Anton Pashku, an attempt to combine Western authorial experiences in drama with elements from local literature and culture was noticed. This means with the most contemporary trends, but also with the most traditional ones that had begun in traditional literature, in relation to those features which were accepted by authors such as A. Pashku, R. Qosja and those of the generation after them in the dimension of poetic expression, or even in the fabled one based either on myths or even on the treasure of oral or even written literature in us, as is the case with drama Erveheja, of Ahmet Qirezi, which, in a way, was a warning of new trends and the paths through which Albanian drama would walk in the years and decades that followed.

When we take a look at this creativity from today's point of view, we definitely get an impression that the dimension of the Albanian dramatic text (in Kosovo) in that period of time is based on old literature, or even on myths and legends of which have been preserved and developed through oral literature (dramas of R. Qosja, T. Dervish, Y. Shkreli, Milazim Krasniqi, Beqir Musliu, Mehmet Krajes, Sabri Hamit, etc.) the main, identifying signs stand out with a kind of loyalty to the subject autochthonous, but without neglecting the external influences and the "offers" that were coming from there also in dramaturgy and which were planted in our literature (the creativity of A. Pashku). Pasku, in fact, with his plays, and not only, also in the field of postmodernism, through which they are combined with his well-known plays: Syncope  and goof, whose shaping elements are built through elements of this form, as an attempt to oppose the outdated forms of our drama, poor and real-socialist which, in fact, had no tendency to respect.

Albanian dramaturgy in this period, in particular the modernist and postmodernist forms that the authors brought in this period, clearly contain a dichotomy between external and national influences as an attempt to create a new kind of expression and identity of drama in Kosovo. In fact, by exploiting the influence of foreign literature and its comparison with local literature, especially in drama, I do not think that it implicitly presents the prominence of local literary scope, its treasures and in-depth contents that had an extraordinary impact also in the development of the theater here.

Contemporary drama, in Kosovo, with Anton Pashku and his creativity gained a new dimension and, at the same time, brought a different artistic expression, which, at times, did not pass without debates. With the dramas Sinkopa and Gof te Pashkut, contemporary Albanian drama begins, not only in Kosovo, but also Albanian dramaturgy and literature, in general. When he talks about the dramatic creativity of A. Pashku, the researcher Josif Papagjoni thinks that he is the author who boldly and with full creative power in the Albanian drama and theater applied the principles of a new poetics, with prominent elements of the absurd as well as the symbolic. in which case there was an amalgamation of the real and the surreal, with the possible historical fact as well as the parabolic fiction of the event as well as with the animations of the myth. Regarding Easter, Rexhep Qosja points out that his works deal with issues related to the author's own creative methods which, in one way or another, enrich the general experience of Albanian literature.

Universal dimension of Pashkian context

The contemporary drama in Kosovo with Anton Pashku and his dramatic creativity witnessed a new sensibility, bringing new artistic expressions which aroused debates. It is here that we can talk about the beginnings of postmodernism among Albanians, not only in Albanian drama, but also in Albanian literature in general. Josif Papagjoni thinks that this author, i.e. Anton Pashku, whose dramas apply the principles of a modern poetics, with elements which he calls prominently absurd as well as symbolic, in which case a kind of amalgamation of the real and the surreal occurs. , with the possible historical fact as well as the parabolic fiction of the event as well as with the animations of the myth.[1] Especially, if we were to define exactly postmodernism through the approach, imagination, as well as the creative strategy of Anton Pashku, through his plays Syncope and goof, we believe that we would conclude that through this creativity, Albanian dramaturgy, from the period of real-socialist creativity, passes, now, into a new phase of its own development, which we can also conceive as advanced postmodernism or even metamodernism. As the other researcher, Rexhep Qosja, Anton Pashku, with his creative methods in one way or another, enriches the general experience of Albanian literature.[2] What Qosja says, I don't think it aligns with the opinion of the anthropologist Aleksandër Dhima, according to whose definition postmodernism in anthropology has to do with researching the nature of the thought of knowledge,[3] and that brings us to the very essence of the philosophical concepts in A. Pashku's drama. In this context, as the researcher Rexhep Murtez Shala will judge, it turns out that the contemporary Pashkian context itself contains two dimensions:

1. National;
2. Universals that interactively characterize the modern culture of Pashkian behavior and the modern Pashkian modeling point of view.

According to this researcher, the national dimension of the Pashkian context includes, first of all, the thematic level, the relationship to tradition and traditional, partly formal indicators (the relationship with folkloric narrative forms and with linguistic forms - idiomatic expressions, the reaction to the literary language norm...); as well as the negative selection of national history and national culture (the term 'negation' is used in a positive sense: with function and logical meaning), as a national and emotional position and reflex that emerges from the situation of rebellion, namely from its ascetic status.[5]

Shala also talks here about what he calls the universal dimension of the Pashkian context, which, according to him, means, in addition to the urban thematic level, also formal indicators that impose the modern culture of behavior and the modern modeling point of view; the universal rebellion that emerges as a reaction to the technical revolution, which, according to Shala, really shakes the hierarchy and status of art, its expressive possibilities, within the cultural and civilizational universe - causes a crisis of categorical legitimacy, tests it before the new characterization of the technical model perspective - technician; and pushed him towards the search for a new categorical identity.[6]

In order to get deeper into Pashki's poetics of drama, we have to go back a little in time to try to clarify the essence of postmodernism! For centuries, the European theater has been dominated by a kind of paradigm which had many differences compared to non-European theatrical and dramatic traditions. let's say kathakali indian[7] or even the theater No Japanese[8] are completely differently structured from European theater and drama. They mainly consist of dance, chorus and music, highly stylized ceremonial actions and lyrical narrative texts. Whereas, theater and drama in Europe also meant the use of speech as well as the action on stage of imitative games. Even in the eighteenth and nineteenth centuries, theatrical creativity in Europe was built on the model that the character - man, first of all, was determined by his speech. Bertolt Brecht[9] through this tradition of ExplainEd this issue once again when talking about the poetics of  his epic corporal[10]. There, Brecht renewed and further developed the classical dramaturgy that he criticized earlier, instead of, according to his theoretical support, exterminate it to the end.

Dramatic theater, to its greatest extent, has obligations to the idealistic concepts of Aristotle and Hegel,[11] thus marking the core of the European theater tradition of the twentieth century. Even with the significant presence of many media of the time, with their omnipresence even in everyday life, from the beginning of the seventies, of the last century, a new form of dramatic and theatrical discourse was achieved, which did not ignore the drama either. nor the theater, nor in Kosovo. Whereas, the postmodern theater, one of the most typical representatives of which, without a doubt, in our country is, precisely, Anton Pashku. The model of literary and dramatic expression is built through a surface structure of the dynamic structure of the message (text) which is related to the dramatic genre structure in Anton Pashku's work.[12], emphasizes Rexhep Murtez Shala. From the theoretical position, here, the dramatic genre is a continuous object starting from the historical-theoretical dimension to the immanent-theoretical one, and from the application of positivist methods to the application of structural methods[13]. In this case, the models of the dramatic literary expression of Anton Pashku's work are precisely characterized by the modern modeling point of view as well as the syncretic type of the modern culture of behavior.

According to the researcher RM Shala, in fact, both the modern ending and the modern conventions in his dramatic works, Easter ends the same as any other modernist:

1. As an ontic category of existence, namely of categorical onticity and,
2. As a genre category – first of all, the end as the beginning of the fabulatic/sysheic model. Specifically in Syncope: according to the classic cause-effect model, the fabulatic/syzeic model, according to RM Shala, is a parallel model ABCB'A' that can be broken down: 1. End of the beginning of Syncope: AB and 2. Beginning of the end of Syncope: CB 'A.[14]

Even according to this researcher and a good connoisseur of A. Pashku's dramatic work, the formula that Anton Pashku uses in his plays, especially in syncope, we are not dealing with the last iteration at the beginning of the fable/sysheic model because the model in question is built on two parallel births of dramatic action. And now, these very lines of development of the dramatic action are the ones that develop according to the logical order, which itself comes as a result of the logical concept of relations: or - or, and which is brought to the surface through the very logical order of relations between condition and consequence, or even, narrower logical order - of cause and consequence.

These two lines of action are equivalent within the fable/syzeic model, says RM Shala, delving further into his analysis of Syncope of Easter, in four stages of the development of this model:

1. Epilogue: the action for the conquest of Maya in Nalta\war for freedom; fall/injury;
2. After an epilogue: withdrawal, shelter in the abandoned house with the wounded, separation from the other side of the expedition/set (Uli, Luli, Lulua, Lulaci, Luleci and Lulaku);
3. Before a prologue: dilemmas, psychic-moral overcoming, the decision to continue the action/war;
4. Prologue: continuation of the action/war.[15]

However, it is factual that, due to the ambivalence of the name that we also find in forms such as: before an epilogue' or even after an epilogue', even the order of continuity in the Easter drama is not entirely regular. This, it turns out, gives a kind of logical constellation which is the most crucial of the whole work and in any case the most determining in the relations already mentioned which are based on the consistency of the logical aspects and which are related to the condition and consequence of what the researcher he calls it a fabulative\sysheic model classification[16].

From this it turns out that the most typical elements of postmodern theater in our country are those that had to do with the fragmentation of the narration in the work, typical for drama Syncope and goof of Anton Pashku. There, the non-linear narrative, stylistic heterogeneity, i.e. variety, certain doses of hyper-naturalism, grotesque and neo-expressionism are attributes appearing everywhere in this work, and an identifying sign of his poetics.

There are also opinions, even from the creator of the drama himself, that postmodernism is a contradictory phenomenon which, at the same time, builds and destroys something, or even uses and misuses the phenomena it expresses itself. Often, as researcher Linda Haçion says, postmodernism turns out to be related to, as she calls it, the flourishing of negative rhetoric – in which case, we hear about discontinuity, disruption, dislocation, decentering, indeterminacy, antitotalization, etc.[17]. In this context, we understand that even postmodernist culture is in a lukewarm relationship with what we define as dominant liberal or humane culture. It is true that postmodern art denies, but nevertheless they also contested within its inner convictions. Modernists such as T. Eliot and Xh. Joyce, quite often have been understood and considered profound humanists, in particular because of their passion, almost, almost paradoxical, for the consistency of aesthetic and moral values, and their literary skepticism raised above the planes of the single-minded existence of universal values. human society. Therefore, postmodernism differs from other creative poetics, not because of its humanist contradictions, but because of creating its own answers in relation to what it rejects, to avoid installing any other illogical structure. This is identical to what we find in myth, or, as Lyotard says, this is it, the great narrative, which will serve the modernists as a model and as a consolation.[18] to see human society in a completely independent way.

Postmodernism proves that such systems are tempting, and they were so for the dramatist Anton Pashku, but also necessary, although they do not make their dramatic creativity less illusory than other creators.

As for the creativity of Anton Pashku, we can agree to some extent with the opinion of the researcher RM Shala who thinks that, in the very act of inspiration of modern Pashkian communication, we also find a kind of ascetic status which, in fact, typifies this creativity . And the ascetic status itself means the conscious rational-reductionist involvement of this author, in particular in the plane of the modalities that have to do with existence as well as, in those parts, which this researcher calls suasas of praxis and literature of the cultural universe and civilizing.[19]

In the wide European theater space, the period when Anton Pashku created drama in our country, that is, from the end of the 60s, through the seventies to the middle of the nineties, was also called the period of postmodern drama and theater, which that, apart from Easter, in one way or another, works by other authors such as R. Qosja, Y. Shkreli, B. Musliu, T. Dërvishi, M. Krasniqi, F. Hysaj, E Shukriu, A. Malaj, M. Kraja and others. But in whose works, mainly, a powerful attempt to describe postmodernist drama and theater as the creation of deconstruction was investigated. As multimedia or plurimedia dramaturgical and theatrical creativity. Respectively, as a restorative dramaturgy, or even as a drama and theater that, in addition to speech, also enables gesticulation of movements in general.

Some of the distinctive signs of drama and post-dramatic theater in Kosovo, we also encounter in dramatic theater, such as: the deep meaning, glorification of art as fiction, glorification of theater and drama as a process, discontinuity, heterogeneity, no -textuality, pluralism, more codes, subversion, omnipresence, perversity, the bearer of the action in the work as a theme and as the main character, deformation, where the text emerges only as basic material and deconstruction So, where the text is considered as authoritarian and archaic creativity, or even performance as a third unit that is observed between the game in the theater and the inventive director and where anti-mimetic dominates as well as opposition to interpretation. For this reason, there are theoretical claims to affirm the fact that, in drama and postmodern theater, meditation, gesticulation, rhythm and voice prevail, which we find fully suggested in Anton Pashku's plays, in the considerable amount of didascals that the author uses. In this case, the tendency to connect grotesque and nihilistic forms can also be singled out, which are quite successfully complimented with empty space and silence, as two of the important features of postmodern drama. This is the case, in fact, in the plays of A. Pashku.

Easter or what is nothing?

It should be noted that postmodernism has as many definitions as there are people who have tried to define it, so we have not considered it part of this study. This fact made it difficult for the aesthetic concept of Easter, let's say, to be deeply clarified, on the theoretical level, as well as its characteristics. So the term is not clearly defined. Rather, it means a series of phenomena that mark the postmodern period where the crisis is not only a matter of an ordinary observation of social phenomena.

It is known that the Second World War was the destructive peak of traditional societies. Since then, modern technology and science have brought a continuous destruction of nature, economic crisis, polarization of political systems, reckless destruction of harmony in any sense. It is also known that the modernists made an apocalyptic description of the degradation of the human being itself. For this reason, people, in general, after the great historical events that involved a global vortex, of those inside, but also of those outside the elites, began to feel every day more and more dissatisfied, but also more spiritually empty. The world war had influenced people, and in particular intellectuals to choose a new radical orientation of the description of life as well as their views, not only political, but also aesthetic ones. The positioning of American art creators who were the first to break away from all "old values" was quick, setting a new categorization in world art and literature. In this period, in Europe, let's say, the main orientations of the creators were towards existentialism and psychoanalysis, which were believed to have been determined by the war itself. In connection with this, Jean François Lyotard was seeing the teachings of Freud and Nietzsche as the basis of postmodernism in the old continent.

Studying the work of Easter, through it we arrive at one of the most crucial questions that Martin Heidegger also poses.[20], and which is connected as a "navel" precisely with the postmodern and what is called the Pashkian model. The question that Heidegger poses, and that we also find in the Easter plays, is: what is nothingness? Does it have anything to do with guiding the walk through the paths and actually getting into metaphysics!? "Although it raises the question of what metaphysics is. Or, what are the differences between the attitude of reason, of truth, which is also called the essence of truth, of the humanity of man, the main goal always remains the same metaphysics"[21], says Heidegger, who, like Anton Pashku, believes that in any of his images it is destined to reach the same place.

From the mid-seventies of the last century, Heidegger drew attention to himself with the idea that a new society had to be created, which would be legitimized differently from the current one. Such a new society necessarily had to have a new paradigm (model), which would be based on aesthetics. He, on this occasion, formulates several theses that he bases on the practices of the American protest movements, which opposed the US war in Vietnam, especially during the sixties.[22], but that his theses could not be realized, among them the thesis that art should appear in all spheres of life, causing what he calls today's revolution[23]. As a result, rebellion as art became commonplace in America. Mention should be made here of the critics who considered that such an approach to art and the relationship to aesthetics actually led to disneylandization[24]of culture (Charles Taylor feared that the world would become an artificial creature for entertainment - Disneyland, which has begun to be realized). Many of Lyotard's approaches are correct but not new, such as that capitalism destroys everything: tradition, bonds, moral obligations, identity. These limits, he considers, must be overcome. Lyotard sees the solution in ethical aesthetics, which reexamines the social paradigm (model), destroys the existing hierarchy supported until then. For the Positivists[25] of the 19th century, the most fundamental thing was the understanding of reality. For the modernists, the notion of reality dissolved into allusions, reminiscences, reflections and mirrors of one another - and the foundation became the notion of the text, which, growing with quotations, allusions and reminiscences, turns into an intertext, and then into the era of postmodernism, in hypertext.

Related to this, there are theorists and philosophers who think differently and that, according to them, postmodernism is nothing more than a philosophical concept which presents a kind of skeptical reaction through culture, on important historical events, such as the Second World War and the Holocaust, or even the wars in Vietnam, the genocide in Cambodia, and most recently, the war in the former Yugoslavia (the one known as the triple genocide that Serbia carried out on Croats, Bosniaks and Albanians, etc.). Here we are talking about works, such as those of Pashku, Qosja, and Shkreli, which are based on the principle of Theater in the theater (e.g. Deli Uka's Small Theater), but also of strong "flirting" with the political allusions of Time (Syncope and Goof).

This is only a partial opinion for us, because, essentially, postmodernism is a clear and powerful artistic movement. It was born and developed as a reaction to modernism, which was too dominant especially after the twenties of the last century[26]. In the end, postmodernism basically presents a way of thinking that unites art and science in their points of commonality.[27].

One of the elementary tasks of postmodernism is to renew our system of reading, bringing innovation to the very process of writing. According to this, the reader, in addition to participating in the process of reading the work, now has the opportunity to participate in the process of its creation itself, organizing the discourse and discovering the meanings of the work as a whole or even its parts in particular. Thus, according to this concept, it was necessary to adjust the place as to which words, sentences, passages or even punctuation marks take them in any given work. Also, what is noticeable in the creativity of the postmodernists is that the narration is not linear either (we mentioned this above in the case of A. Pashku's dramas), but neither chronological nor logical, because, according to the postmodernists, our life is not like that either . The innovation in this creativity is also the fact of the absence of any restrictions, which means that it was allowed to include materials that have nothing to do with the work itself - quotes, photographs, pages, etc., even up to lack of material in the text, thus leaving entire pages unwritten. It has always been used to present the momentary, emotional state of a creator, either in drama or in other arts.

Whereas, in terms of one anthropology for anthropology[28], we can say that this, in its essence, was and remains a call to do the analysis of anthropology, however, we put a very minor group of anthropologists and call themselves postmodernists. As he says, in fact, anthropology develops in a very moderate postmodernist position, for which it is important to point out that anthropologists have also offered very significant observations for theoretical developments in contemporary anthropology. dramatic art.

Therefore, it is a rough idea related to these that the mythical situations whose particulars have become known through scientific analysis, are dramatized and in this way they are aligned with the views of the contemporary man as a subject of being: intellectual, emotional and of experience. This kind of understanding is necessary to achieve a kind of competence to think about the most distant, the disappeared, the unknown, or completely different social and historical process and reach a judgment. This is the process that is not led by theorists and researchers of the anthropology of drama and theater, but by artists: playwrights and directors.[29]

We find it important to deal briefly with an interesting opinion of the well-known Albanian anthropologist, Aleksandër Dhima. According to him:

The postmodernist movement, in addition to the objective of an 'anthropology for anthropology', has also stimulated several important theoretical directions, which are related to notions of the distribution of power. In particular, discursive analyses, most closely associated with Foucault's work, seek to examine identities and histories and post-colonial histories through alternating studies on nationalism, ethnicity, and even, more recently, on globalism.[30]

This means that we can actually draw some conclusions about the fact that, in general, postmodernism, like the term itself, is something that comes after modernity and that it has helped new creative forms in dramaturgy. , but also analytical and research ones in philological and theater sciences.

In the work The name of the rose of Umberto Eco[31], let's say, the role of the deadly object of bleeding is taken by the book. Borhesi, a cult author of the postmodern era, keeper of libraries, has built its entire literary world on the foundations of the rich heritage of humanity. John Bard's Thesis, on the literature of exhaustion and expression rewrite of Roland Bart[32], are paradigms for Borhesi's works. His beloved subjects are connected to the hermetic world of the Library. Maybe old age and fear are deceiving me, - says the writer, but I foresaw that the human race - the only one - would soon die, while the Library would remain bright, desolate, infinite, perfectly inert, adorned with precious books, worthless, enduring, impenetrable[33]. Returning to the starting point of our paper and the phenomenon of the reader's freedom, we can say that it is escaping the final definition.

It was Julia Kristeva[34] which introduced the term intertext (which presupposes the connection of the text with the context). In this regard, she said that: Every text is created as a mosaic of quotes; each text incorporates and contextualizes another text… Each text is the ingestion of a prior text. Rolan Bart and Zherar Zhenet expressed themselves similarly. Roland Bart when they say that: Every text is an intertext – a text composed of many other texts. Zherar Zhenet thinks that: Each text can be read as a supertext (hypertext), in relation to a previous text (hypotheses - subtext).[35]. While Lotman, in addition to the context, also talks about the metatext[36] and which represents the relationship between two or more texts. It is about reports that exert influence on the shaping itself, the experience as well as the interpretation of a text within which the presence of another text is noticed. And, as we understand, the presence of a text in another text is called intertext[37] thus creating a unique text, which relies on other texts with which it is named metatext. According to this, each text appears in a certain constellation of texts. We may not be able to understand this fact outside of this framework, that is, as a single and unique text. Even - even, this ratio of texts is also called a context that has extraordinary significance, especially in dramatic creativity as such. In the context, therefore, social and political circumstances can be presented, but also the historical situations of the time when the text was born, highlighting, through the analysis, the role played by that text in that time circumstance to reveal its own social context the event. In short, the text and the context of the works represent the various factors in the general cultural life of a period as well as the influences of the text in this direction (cultural context). Also, text and context present the system of literary genres that are present at a certain time.

The drama of characters who have no choice

When we talk about postmodern poetics, we must keep one thing in mind: it does not establish any relation of causality or identity between art or between art and theory. It only offers, as a provisional hypothesis, the correspondences of observed interests, especially related to the contradictions that it considers to be characteristic of postmodernism. Those, if we refer to the dramas: Syncope and goof of Anton Pashku, in fact, are forms that can be clearly read through theoretical literary discourses. Alienations, anxieties, nightmares, the impossibility of delineating through hermetic situations, dilemmas and the lack of a perspective to move from the future, are the creative concerns in both of these dramas that unfold the author's own vision of the world in it which he was living. His approach to postmodern poetics in dramaturgy was of the time, while in our dramaturgy he also came as a new spirit, which was dominant in European drama and which was presenting it to the general public, a kind of rebellion. Especially in correlation with the so-called literary rhetoric in dramaturgy as well as being positioned against the humanistic optimism that had dominated dramaturgy since Ibsen until the period we are talking about.

In Anton Pashku's dramas, as well as in the dramas of the so-called classics of the avant-garde led by Becket, Jonesko, Zhene, Adamov, Pinter, etc., one fact is noticeable: their characters do not have any great choice. Or, sometimes it is completely absent as such. Because, those characters are placed in a situation which they did not choose with their will. Even, sometimes, as if we get the prophetic impression that someone or something has chosen them to be there, and so.

We also find this in the Easter dramas, before it, I don't remember, and in Waiting for Godot  of S. Beket, or to The bald singer of Ionesco, etc., where, even from the language itself, it is noticed that we are dealing with special and generalized places where, to say, Mr. and Mrs. Smith (in the Bald Singer) are intertwined as in an inextricable dance. As for the drama Waiting for Godot of S. Becket, the author creates those characters who vegetate in one place and who cannot make any kind of choice or any kind of selection to resolve themselves and their fate. For example, Vladimir and Estragon find themselves one day on a country road waiting for Godot, as two sailors whose boats have been flooded and who have barely reached an island shore, not knowing where they are or where they can go from there.

Circumstances like this are also found in End of the Game yes i Beket when, the main characters Hami and Clovis live out their last days in a desolate world, with their desolate lives awaiting death. We also find them in drama  Happy days of the same author, Vini slowly sinks into funnel itself, making us understand that someone or something has chosen them to be in such tragic and intractable situations.

But let's get back to Syncope of Anton Pashku! It is clear that it came to Albanian dramaturgy and culture, more as a synonym of a kind of lack of optimism or elan to live in certain conditions and circumstances. It became synonymous with weakness. Not only as a momentary weakness and human weakness, but also as a nebulous consciousness that comes as a cause and a consequence of human loneliness. Of monotony, but also of various psycho-pathological states of man, in whose inner world spiritual chaos dominates, the lack of strength and the ability to face the many challenges where there are daily meeting points. The drama Syncopation marks exactly the antinomies and life contradictions of the current days that were manifested in mysterious and fatal forms[38], says Dr. Prophet Islam.

This description says that the postmodernists, including Anton Pashku, and partially also Ymer Shkreli, Fadil Hysaj, Mehmet Kraja, Sabri Hamiti, Milazim Krasniqi, etc., have a different outlook on life. A unique worldview, they do not want to impose their vision, their ways of thinking and even their philosophy on others. Postmodernists believe in the loss of reality and that drama, in its most readable essence, is nothing more than a language game. A game of combining and interrelating separate textual parts related to a situation or even a reality, thanks to which it is understood that reading, according to them, is not spiritual food, on the contrary, it is entertainment, just like itself writing the play. Roland Bart, in this regard, thinks that the author has died so that the reader can live[39]. While Borhesi was for the author's relativism[40].

Croatian researcher, Mishko Shuvakovic, postmodern artists are artist-allegorists who use the existing "photograph" to re-interpret it by adding other, new meanings to it. The new meaning is not arbitrarily introduced as something marked, but it originates from the significant motivation, fragmentism, certain motivations as well as the semantic openings of the pictures used.[41]. According to Owens, the drama may be the most important mediator for allegory, because it constructs the narrative from a series of concrete scenes, the meaning of which, as a whole, does not originate from the meanings of the scenes in a play.[42].

Theoretical writing on the postmodern can never be any source writing, but, above all, it is a type of interpretation of written writing. While allegory is a theoretical figure with which it is dramatized[43].

Postmodernism is also characterized by eclecticism and the relativity of reality. He does this by typifying the absurd situations and by making a detailed individualization of the human features as their product, showing through different amplitudes the situation in which he is immersed, the time as well as the concrete environment, marking the rhythms of everyday life and even creating easily decomposable and readable metaphors. Thus, Anton Pashku, but also Ymer Shkreli, Fadil Hysaj and Mehmet Kraja, brings to the surface the spiritual states of the protagonists of their works. Pasku, in his plays,  Syncope and Goof, where, without his will, he is constantly disconnected from his existing reality, while, being treated from the cosmopolitan aspect, he generalizes what Professor Islami calls intertranscendence, dreams, worries and imagination thanks to which he creates a special myth[44]. This also applies to the way he constructs his dramas, Ulpijana, Mother goes to heaven and Paradox, Ymer Shkreli; Fadil Hysaj in dramas: The last show, The Guide to the High Peak", Pavilion D or "Trokitje", or Mehmet Kraja in the drama Paper moon.

Anton Pashku's postmodernist poetics as a vision and priority in his dramatic creativity

According to Vehap Shita, Anton Pashku with these dramas does not stray too far from the story, written by him in a very interesting way. Even Shita asks you Syncope and Easter stories a kind of reversibility, because he thinks that Easter plays have a kind of plasticity and a kind of functional narration, as his stories possess a kind of internal drama. This opinion of V. Shita is similar to that of Alfred Zharija, who in his essay titled The twelve rules of drama, among other things, writes that every creative genre, in their first variant, is thought of as drama, and then they go to other forms, genres or even genres[45]. For this reason, it has often happened to us to say about a read poem that it came to us in a very dramatic way, like a painting, e.g. sh. those of Dali with biblical motifs that are very dramatic. Onufri's frescoes are also very dramatic. Agim Çavdërbaşa's sculptures are experienced as drama, especially his sculpture Women of Lybenic; or how dramatic we say it is Requiem of Mozart; novels, poems, novellas, stories and so on.

It is clear that Anton Pashkut, his drama Syncope he conceives it as a drama for the theater, because with enough eloquence they made a selection of signs, which also reflect on the literary context of the work. This author considers this as an ideal of the fusion of the structure of the theatrical stage space, its dramaturgical geometry, with the structure of the artistic text, i.e. of the artistic literary signs with the dramaturgical theatrical signs.[46]. To clarify a little more all that was said above, we can once again be served by the opinions of one of the dedicated connoisseurs of Anton Pashku's dramatic work in Kosovo, Rexhep Murtez Shala, who, among other things, thinks that, essentially, the drama in the theatrical works of this author turns out to be the narrativized drama, which includes within itself a kind of narrative articulation which is put in the function of undoing it, if possible, or even minimizing it as much as possible possible perception in general as well as articulation. With this, it seems to impose a categorical narrative nature in the entire scope of the dramatic manifestation in the work of Easter.[47]. Especially this is scrutinized in the procedural aspect, or even in the dialogue itself as an issue and aspect. This shows that this author, along the entire arc of the construction of his dramatic work, seems to try to reduce the action, minimize or even completely undo the conflict, maximally relativizing it, which has an impact on the intensity of the conflicts in the work as well as on the dramatic tensions. Here, we find an unconcealed tendency of Anton Pashku to be served with a kind of narrative dialogue which is specific to his drama, and which tends to arise in a kind of model or even a special form of articulating the author's ideas and thoughts , but also communication with the public.[48]

According to this, it can be concluded that every text, including the Easter plays, appear in a certain constellation of texts and sometimes even criticism does not manage to understand it outside of this framework; so as a text in itself. This constellation of texts in the case of drama Syncope it can be called context, except that it can be of different types. This is because through Syncope many historical circumstances emerge that are related to the time when the text was created and the role that it is claimed that the work may have played in that historical time (social context).

The postmodernist poetics within which Anton Pashku has created comes as a vision and priority in his dramatic creativity. In fact, he did not establish any relationship of causality and identity between art or between art and theory. The work as such has only offered a provisional hypothesis, which we can call the matches of the observed interests, especially those related to the contradictions which are considered to be features of postmodernism.

Drama Syncope e goof, were created as obvious antitheses against the conventional drama and theater of the time when Pashku was created, both on the intellectual and literary level, as well as on the parodic level of the existing reality. Here we find it unreasonable to compare the plays of Anton Pashku with those of Samuel Beckett, because the latter, unlike Ionesco and Adamov, let's say, is never interested in revolutions. For Beket, part of the focus of his interest is something more basic, more essential. His theater is the theater of the essence, and it originates and departs precisely from these essences[49]. And this means that in the case of this author, we are not dealing with anyone rebellion aesthetic, as much as with a vision of man and the perfect way he is shaped in the drama. Even, this approach of S. Beket aligns him more with the classic drama writers than with other authors of his genre. While at Syncope of Easter, let's say, we are more concerned with thematic innovations that are related and talk about the seriousness and banality of life raised to the level of fatalism. This means that the Easter dramas, so also Syncope also goof arose out of the need for it plagued solidified forms in Albanian dramaturgy, even when they appear as a vision of a writer who seeks other dramatic expressions, shaping them differently and more specifically for his time. Much different. Even Anton Pashku, it is more clear that, in his plays, he claimed such a purity of form, as Sophocles and Rasnini had done, let's say, in their works.

Indifference to Anton Pashku's imaginative wealth

It is not correct to read Easter as if in his dramas we are dealing with the circumstances of a country abandoned by God himself, therefore man abandoned by his creator, has remained only within his own physiology, within the consciousness of disintegration or the exhaustion of his body. Easter is the author of the human body and physiology plays a big role in it, there is no doubt about that. But it is also clear that his characters, whether odd syncope, either odd Goof they are not simplified to the physical (bodily) size at the moment when they are all taken away or denied. Even, in the critical analyzes on them, the body of these characters, as it is in the avant-garde classics: Becket, Ionesko, Adamov, or even their followers Eduard Olbi, Slavomir Mrozhek, David Herr, Harold Pinter, etc., has not been noticed. everything. In short, the body in Easter plays is there as a special angle from which things are viewed and measured. So, in the same way that human life and everything else that is created within it is measured by c'reast, even according to Rexhep Qosja, it turns out that Anton Pashku's man is like a mouse, in which certain experiments are carried out for the purposes of CERTAIN[50]. This means that all actions, thoughts, reactions, emotions of man in A. Pashku's plays, but also all his connections with society, he submits to his own literary molds; in his work, life obeys formal literary norms in a somewhat violent way[51].

R. Qosja's opinion is also interesting, when he talks about Anton Pashku's dramaturgy. According to him, the paradoxical statement that even the work of Easter is subject to a tendency, but unlike the works that belong to the political tendency, that of the mother belongs to the aesthetic, formalist tendency[52]. Qosja thinks:

One cannot in any case be indifferent to the imaginative wealth of Anton Pashku's prose, but one cannot also be indifferent to his efforts to be as elliptical, as closed, as hermetic as possible. And, this tendency has become more and more evident, being expressed and strengthened in the creativity of tij[53]./telegraph/

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[1] Papagioni, Josif, Grishje for/from literature, 'Toena', Tirana, 2013. p. 439.

[2] Qosja, Rexhep, rarefied pantheon, "Rebirth", Pristina 1973, p. 182.

[3] Dhima, Alexander, Introduction to Anthropology – Second Complete Edition, Ideart, Tirana, 2014. p. 470.

[4] Shala, Rexhep, Murtez, EX LIBRIS, Pashkian moderns. Papyrus, Pristina, 2000, p. 18.

[5] Right there.

[6] Right there.

[7] India is the birthplace of a very stylized art, with very regular forms, known as Kathakali Dance which began to be created in the seventeenth century. This type of performance art is actually called Kathakali checkers - dance, through which various themes of Hindu mythology are discussed, and in particular those from the epics Ramayana and Mahabharata.

[8] In the history of drama and world theater, No-drama/theatre belongs to a very important place. No-drama/theatre is a form of total theatre. A sacred scene. Absolute theater, but also classic Japanese lyricism. No-drama is accompanied by song and dance which share the same work where all performing arts meet. The unity of drama and theater is nowhere else as harmoniously open as in No-theatre. No-drama is without a stage, while, on the other hand, No-theatre is just an outline for a play. Here, together, drama and stage constitute an organic unity, and for this reason, No-drama/theatre is most often spoken of as an aesthetic whole of this ancient art in Japan.

[9] Bertold Brehti considers that drama has the function of re-educating social consciousness, emphasizing the social determination of the characters. Drama, according to him, should act more on the viewer's consciousness than on their feelings. And, instead of the illusion and pleasure that the character can have, the actor is required to present people and their relationships, while the viewer is required to think and judge. Bertold Brehti also considers that the world must change, highlighting three moments: 1. we must consider it; 2. we must be surprised by the things that surround us and look at them as unknown; 3. it leads to a full recognition and understanding and discernment; and, 4. discernment is joy, fun.

[10] The didactic function of Brecht's theater is not intended. The goal is to give pleasure. The educational function of the Brechtian theater is a didactic function, although the epic theater in essence should not be given the didactic function, but that of pleasure. The didactic function of the epic theater is realized thanks to the support it finds not only in other arts, but also in science, because in order to be coherent with the demands of the spectator, even more so in order to perform the didactic function, it must also convey scientific values ​​and achievements of humanity. Therefore, Brecht's theater is also called the theater of the age of science. The epic theater, in the first place, "wanted to study more than to moralize". In the second place, "of course, he studied, but then the other side came: the moral of the story". The template answer "yes and no", if analyzed carefully, could also be broken down through the ascertaining formulation: epic theater exists for people (in the theater it must happen as in life), not people exist because of the theater (in life it does not it must happen as in the theater.) Consequently, morality exists because people exist and people do not exist because of morality. Epic theater has an expository character and as such cannot be created everywhere as it requires high technical standards, the free pronunciation of reality with the aim of findings that guide the emancipation of the spectator. Bertolt Brecht was concerned with encouraging viewers to think.

[11] Hegel advocated modernity in drama. His defense of modern drama aligns himself with an awareness of the historical and material conditions of dramatic poetry, performance, and public reactions more than a conventional reading of his idealist philosophy would allow them to. Despite repeating Aristotle's demands on the philosophical and universal character of poetry, especially dramatic poetry over the epic, Hegel here separates himself from Aristotle with what he calls a harsh anti-theatricality. Instead he states that the dramatic work is fully dramatic only with the help of "living performance for the spectators" and that the dramatist responds to a specific audience or even the Audience. Recognizing a sensitive presence of the dramatic action in the play, the possible reactions in certain times and certain places, which has been decisively shaped by the "organized national life" and subordinates, as well as the important influence of "knowledge and practical experience theatrical", speaks volumes about Hegel's knowledge of the historical, the significance and the phenomenological and materializing contribution of the drama itself.

[12] Shala, Rexhep, Murtez, EX LIBRIS, Pashkian moderns. Papyrus, Pristina, 2000, p. 127.

[13] Right there.

[14] Right there.

[15] Shala, Rexhep, Murtez, EX LIBRIS, Pashkian moderns. Papyrus, Pristina, 2000, p. 131.

[16] Right there.

[17] Hatchion, Linda, Poetics of postmodernism, history, theory, fiction, "Svetovi", Novi Sad, 1996, p. 66.

[18] Lyotard, Jean-François, Postmodern condition, IBIS, Zagreb, 2005, p. 22.

[19] Shala, Rexhep, Murtez, EX LIBRIS, Pashkian moderns. Papyrus, Pristina, 2000, p. 21.

[20] Martin Heidegger (1889 - 1976) was a German philosopher. His greatest contribution was the interpretation of the work of Friedrich Nietzsche. Heidegger has tremendously influenced the formation of many philosophical directions of postmodernism, but has provoked many controversies due to his connections with the German Nazis, especially during the first years of the fourth decade of the last century. Heidegger is considered the most influential philosopher of the so-called continental tradition. The great success he achieved with his book "Being and Time" enabled Heidegger to become a professor in Freiburg where he lectured on philosophy until his retirement in 1945. He was retired, involuntarily, by the French occupation forces. , due to a speech by the rectory at the time of the coming of the Nazis to power, from the mid-30s, in which he extolled the historic decision of the Germans to support that policy and ideology. He spent the rest of his life, retired, in a mountain house in the Black Forest, below the Black Forest. However, Heidegger is considered to have been one of the greatest and most influential philosophers in the 1976th century. It was particularly important for influencing what we mentioned above – the continental philosophical tradition, exerting a tremendous influence, especially on Jean-Paul Sartre, but also on the famous Roman Catholic theologian and philosopher, Karl Ranieri. Martin Heidegger died in Freiburg im Bresgau in XNUMX.

[22] Hajdeger, Martin, Bitka i vreme, Službeni glasnik, Belgrade, 2014, Pg. 343.

[23] Right there

[24] Disneylandization - Charles Taylor feared that the world would become an artificial creature for entertainment - Disneyland, which has begun to be realized.

[25] For the positivists of the 19th century, the most fundamental thing was the understanding of reality.

[26] Here we can also talk about Surrealism, Expressionism, Futurism and Dadaism, which were created as an opposition to the previous literature, culture and life in general, especially the social one. Of all the modern movements, surrealism had the most pronounced social revolutionary line, especially after the "Second Surrealist Manifesto" (1929), when the magazine also changed its name to "Surrealism in the Service of the Revolution" (1929.)

[27] The very birth of the term postmodernism is attributed to the Spanish literary critic Federic de Onis, who used the term for the first time in 1934 in the introduction to an anthology of poetry. He used the term postmodernism more to name a school of poets who wrote in the Spanish language, but whose creativity differed from the modernist style, which, at that time, was very popular in Spain and beyond. In the English language, this term was used for the first time by the English historian, Arnold Toynbee, when describing the historical period after the Prussian-French war.

[28] Dhima, Alexander, Introduction to Anthropology – Second Complete Edition, Ideart, Tirana, 2014. p. 266.

[29] Meletinskii, Moiseevich Eleazar, Myth poetics, Belgrade, SA (1983), Belgrade, SA (1983), Pg. 84.

[30] Dhima, Aleksandër, Introduction to anthropology - the second completed edition, Ideart, Tirana, 2014. p. 471.

[31] Umberto Eco (1932) is an Italian scholar of medieval semiotics, philosopher, literary critic and novelist, best known for the novel "The Name of the Rose" (Il nome della rosa) published in 1980. The name of the rose novel written in the form of intertextual influences.

[32] Rolan Bartit is the researcher who introduced the notion of "rewriting" into the lexicon of literature studies.

[33] Hristić, Jovan, Pozori š te, pozori š te II, "Prosveta", Belgrade, 1982, p. 68.

[34] Julia Kristeva was the first to mention the term INTERTEXT.

[35] Hristić, Jovan, Pozori š te, pozori š te II, "Prosveta", Belgrade, 1982, p. 113.

[36] According to Lotman, metatext also means any text that arises as a reply, response, reaction or commentary to another text. Metatext is a text that talks about other texts. This leads us to the conclusion that literature is not only a collection of certain literary works, which are the result of the work of a creator, but a system of texts that are interconnected and always talk to each other. In other words, literature is dialogue that leads people through different times and spaces through texts.

[37] Intertext represents the text that is in relation to other texts; presents a certain pattern through which a new text is formed. Modern criticism considers the intertext very important, because it fulfills the thesis that a text owes more to other texts than to the reality it describes or narrates.

[38] Islam, Nabi, History and poetics of Albanian drama (1886-1996), ARTC, Pristina, 2oo3, p. 8.

[39] Barthes, Roland, Brujanje jezika, Republic of Br. l, Zagreb, 1985.

[40] Borhes, L. Horhe, Knjiga o izmišlenim bićima, Paideia, Belgrade, 1967, p. 23.

[41] Šuvaković, Miško, Postmoderna, Narodna Knjiga Alfa, Belgrade, 1995, p. 7.

[42]  Owens, Craig, Allegorical impulse: there is one theory of postmodernism, Delo br. 9-12, Belgrade, 1989.

[43] Derrida, Jacques,  Writing and Difference, University of Chicago, Chic,1go, 1978.

[44] Ibid., p. 9.

[45] Mullici, Haqif, On the beginnings of the drama of the absurd, "Kombi", no. 29, Pristina, 2000, p. 62.

[46] Rexhaj, Besim, Albanian drama after the Second World War 1948-2008 - Poetics, typology, periodism, Volume II, "Faik Konica", Prishtina, 2009, p. 9.

[47] Shala, Rexhep, Murtez, EX LIBRIS, Pashkian moderns. Papyrus, Pristina, 2000, p. 135.

[48] Right there.

[49] Kennedy, K. Andrew, samuel beckett, Cambridge University Studies, Cambridge, 1989, p. 10. (Translated from English, Hope Mulliqi.)

[50] Qosja, Rexhep, rarefied pantheon, "Rebirth", Pristina 1973, p. 180.

[51] Right there.

[52] Right there.

[53] Right there.