{"id":344,"date":"2015-05-15T14:10:57","date_gmt":"2015-05-15T12:10:57","guid":{"rendered":"https:\/\/patrioti.al\/?p=344"},"modified":"2015-05-15T14:10:57","modified_gmt":"2015-05-15T12:10:57","slug":"trilogia-dell-incomunicabilita-michelangelo-antonioni","status":"publish","type":"post","link":"https:\/\/patrioti.al\/de\/trilogia-dell-incomunicabilita-michelangelo-antonioni\/","title":{"rendered":"\u201cTrilogia dell\u2019 Incomunicabilit\u00e0\u201d – Michelangelo Antonioni"},"content":{"rendered":"

nga Anisa Vrenozi<\/em><\/strong><\/span><\/p>\n

Nj\u00eb heshtje e ndryshme nga heshtjet e tjera. Drit\u00eb q\u00eb ndri\u00e7on m\u00eb shum\u00eb se drit\u00eb t\u00eb tjera. Pal\u00ebvizshm\u00ebri. K\u00ebto jan\u00eb disa prej karakteristikave t\u00eb s\u00eb njohur\u00ebs si \u201cTrilogia dell\u2019Incomunicabilit\u00e0\u201d- Trilogjia e pamund\u00ebsis\u00eb e Michelangelo Antonioni, e p\u00ebrb\u00ebr\u00eb nga filmat: L\u2019Avventura- Aventura (1960), La Notte – Nata (1961) dhe L\u2019Eclisse \u2013Eklipsi (1962). Antonioni e realizoi k\u00ebt\u00eb triptik t\u00eb fokusuar n\u00eb problemet e pamund\u00ebsis\u00eb, projekt ky q\u00eb sh\u00ebnoi edhe nj\u00eb eksperiment n\u00eb pik\u00ebpamjen e narrativ\u00ebs dhe stilistik\u00ebs. Regjisori nd\u00ebrmerr nj\u00eb rrug\u00ebtim t\u00eb v\u00ebshtir\u00eb p\u00ebr tu p\u00ebrshkuar, t\u00eb pajisur me nj\u00eb pesimiz\u00ebm ekzistencial, q\u00eb tashm\u00eb ka r\u00ebn\u00eb mbi shoq\u00ebrin\u00eb moderne t\u00eb tjet\u00ebrsuar. Antonioni analizon kriz\u00ebn e identitetit n\u00ebp\u00ebrmjet dinamik\u00ebs n\u00eb \u00e7ift, gjithmon\u00eb t\u00eb nd\u00ebrlidhur me figur\u00ebn e nj\u00eb gruaje, t\u00eb realizuar nga imazhi i p\u00ebrvuajtur, misterioz dhe her\u00eb-her\u00eb neurotik i muz\u00ebs dhe t\u00eb dashuris\u00eb s\u00eb tij Monica Vitti, viktim\u00ebs dhe „ekzekutueses“ s\u00eb kriz\u00ebs ekzistenciale ku ai p\u00ebrplaset.<\/p>\n

Pasiguria e ndjenjave udh\u00ebheq rrug\u00ebn e karaktereve kryesore t\u00eb triologjis\u00eb: dor\u00ebheqja, n\u00eb rastin e nj\u00eb tradh\u00ebtie t\u00eb dhimbshme n\u00eb \u201cL\u2019Avventura\u201d;\u00a0 seksualiteti i tejskajsh\u00ebm si pasoj\u00eb e pak\u00ebnaq\u00ebsis\u00eb i shfaqur n\u00eb qasjet erotike n\u00eb \u201cLa Notte\u201d dhe tjet\u00ebrsimi i shoq\u00ebris\u00eb i prezantuar n\u00eb\u00a0 \u201cL\u2019Eclisse\u201d nga bota pam\u00ebshirshme e burs\u00ebs. Trilogjia sh\u00ebnon pik\u00ebn m\u00eb t\u00eb lart\u00eb t\u00eb analiz\u00ebs sociologjike dhe psikologjike n\u00eb krijimet kinematografike t\u00eb Antonionit, nj\u00eb autor i v\u00ebshtir\u00eb q\u00eb frym\u00ebzohet nga sugjerimet ekzistencialiste letrare, ve\u00e7an\u00ebrisht t\u00eb Camus dhe nga intimiteti i qen\u00ebsish\u00ebm i shum\u00eb shkrimtar\u00ebve t\u00eb shekullit XX. Nga pikepamja narrative, Antonioni alternon eklipse dramatike t\u00eb ndjenjave me skena stilistikisht emocionuese. Bukuria natyrore e imazhit e p\u00ebrcjellur nga tonalitetet e gri-s\u00eb dhe melodit\u00eb natyrale n\u00eb sfond nxjerrin n\u00eb pah klim\u00ebn e pak\u00ebnaq\u00ebsis\u00eb s\u00eb fshehur q\u00eb i p\u00ebrket shoq\u00ebris\u00eb q\u00eb ai p\u00ebrshkruan. Antonioni shqyrton efektet dhe jo shkaqet e k\u00ebtyre krizave dhe \u00e7do detaj q\u00eb ai pasqyron n\u00eb k\u00ebto filma, nga mjediset e deri tek stili i tij regjisorial \u00ebsht\u00eb i mahnitsh\u00ebm. Antonioni \u00ebsht\u00eb nj\u00eb analist delikat i ndjenjave, nj\u00eb poet dhe nj\u00eb hipnotizues i shk\u00eblqyer. Ai mbetet nj\u00eb pik\u00eb referimi e kinemas\u00eb moderne, nj\u00eb krijues i kryeveprave n\u00eb kriz\u00ebn e modernitetit.<\/p>\n

L’Avventura- Cannes 1960<\/p>\n

Nj\u00eb vajz\u00eb e pasur dhe e re, Anna (Lea Massari), zhduket n\u00eb m\u00ebnyr\u00eb misterioze nga nj\u00eb ishull gjat\u00eb nj\u00eb sh\u00ebtitje me vark\u00eb n\u00eb detin e Si\u00e7ilis\u00eb duke l\u00ebn\u00eb pas t\u00eb dashurin Sandro (Gabriele Ferzetti), nj\u00eb arkitekt dhe shoqen e saj Claudia (Monica Vitti) t\u00eb cil\u00ebt gjat\u00eb k\u00ebrkimit t\u00eb saj p\u00ebrjetojn\u00eb nj\u00eb „aventur\u00eb romantike“ plot dyshime, pasiguri dhe frik\u00eb. Por n\u00eb hotel Claudia e gjen Sandron n\u00eb krah\u00ebt e nj\u00eb prostitute dhe pavar\u00ebsisht nga kjo, ndjen m\u00ebshir\u00eb p\u00ebr t\u00eb dhe mbetet pran\u00eb tij.<\/p>\n

La Notte- Ariu i Art\u00eb, Festivali i Berlinit 1961<\/p>\n

Filmi paraqet kriz\u00ebn e nj\u00eb \u00e7ifti t\u00eb martuar nga Milano, bashk\u00ebshort\u00ebt Giovanni Pontano, nj\u00eb shkrimtar i famsh\u00ebm, dhe gruas s\u00eb tij t\u00eb bukur Lidia (Marcello Mastroianni dhe Jeanne Moreau). E gjith\u00eb ngjarja e filmit zhvillohet brenda nj\u00eb nate. \u00c7ifti viziton nj\u00eb mik n\u00eb spital, Tommaso Garani (Bernhard Wicki<\/a>) q\u00eb vuan nga\u00a0 nj\u00eb s\u00ebmundje e pash\u00ebrueshme dhe q\u00eb p\u00ebr vite ka dashuruar Lidian n\u00eb heshtje. N\u00eb mbr\u00ebmje t\u00eb dy\u00a0 shkojn\u00eb n\u00eb nj\u00eb bar dhe pastaj n\u00eb nj\u00eb pritje n\u00eb vil\u00ebn e industrialistit t\u00eb pasur Gherardini ku Giovanni socializon madje edhe n\u00eb nj\u00eb nivel ndjesor me vajz\u00ebn e tij t\u00eb bukur Valentina p\u00ebrgjat\u00eb gjith\u00eb nat\u00ebs. Nd\u00ebrsa kthehen n\u00eb sht\u00ebpi n\u00eb or\u00ebt e para t\u00eb m\u00ebngjesit, Lidia e lajm\u00ebron q\u00eb shoku i tyre tashm\u00eb ka vdekur. Dhe agimi i gjen teksa p\u00ebrqafohen t\u00eb shtrir\u00eb n\u00eb bar.<\/p>\n

L’Eclisse- \u00c7mimi Special i Festivalit t\u00eb Cannes 1962<\/p>\n

Vittoria (Monica Vitti) \u00ebsht\u00eb nj\u00eb romane e pasur e cila braktis t\u00eb dashurin e vjet\u00ebr Riccardo (Francisco Rabal), nj\u00eb intelektual porsi ajo, p\u00ebr t\u00eb gjetur nj\u00eb dashuri q\u00eb jep ngroht\u00ebsi njer\u00ebzore. Beson se e gjen tek Piero (Alain Delon) i cili \u00ebsht\u00eb agjent burse, por n\u00eb fakt nj\u00eb feminist cinik. P\u00ebr m\u00eb tep\u00ebr, flirti i tyre \u00ebsht\u00eb plot dyshime ndaj t\u00eb riut, sikund\u00ebr n\u00ebna e saj, nj\u00eb lojtare n\u00eb burs\u00eb e cila ka humbur nj\u00eb shum\u00eb t\u00eb madhe parash n\u00ebn administrimin e Pieros. N\u00eb takimin e fundit asnj\u00ebri prej tyre nuk shfaqet m\u00eb.<\/p>\n

K\u00ebto tre vepra jan\u00eb realizuar n\u00eb vazhdim\u00ebsi t\u00eb p\u00ebrsosur, jo vet\u00ebm n\u00eb aspektin stilistik por edhe narrativ dhe tematik. N\u00eb fakt, sikund\u00ebr shprehet kritiku i madh i kinematografis\u00eb Guido Aristarco, bashk\u00ebshort\u00ebt Pontano n\u00eb La Notte mund t\u00eb jen\u00eb Sandro dhe Claudia t\u00eb L\u2019Avventura, tashm\u00eb t\u00eb martuar, dhe Vittoria protagonistja e L\u2019Eclisse mund t\u00eb jet\u00eb Valentina e La Notte n\u00eb koh\u00ebn e shp\u00ebrb\u00ebrjes s\u00eb marr\u00ebdh\u00ebnies s\u00eb saj t\u00eb trazuar me Giovanni Pontano~Riccardo.<\/p>\n

Jan\u00eb t\u00eb shumt\u00eb\u00a0 elementet q\u00eb i b\u00ebjn\u00eb t\u00eb paharrueshme k\u00ebto kryevepra ku spikat moderniteti i tejskajsh\u00ebm i narrativ\u00ebs me referenca t\u00eb qarta p\u00ebr stilet letrare t\u00eb Nouveau Roman-Romanit t\u00eb Ri dhe anti-romanit t\u00eb viteve \u201850 dhe \u201960 t\u00eb autor\u00ebve revolucionare si Camus & Joyce. Nj\u00eb tjet\u00ebr aspekt i r\u00ebnd\u00ebsish\u00ebm \u00ebsht\u00eb pasqyrimi i gjall\u00eb i efekteve an\u00ebsore t\u00eb lul\u00ebzimit ekonomik t\u00eb Italis\u00eb, duke theksuar dob\u00ebsit\u00eb dhe hipokrizit\u00eb e progresit industrial dhe borgjezis\u00eb italiane. N\u00eb k\u00ebt\u00eb perspektiv\u00eb, mund t\u00eb kujtojm\u00eb sken\u00ebn e hapjes s\u00eb La notte, ku pasqyrohet imazhi i nj\u00eb qyteti n\u00eb mes t\u00eb nd\u00ebrtimit ose skenat plot tension dhe vrull brenda burs\u00ebs s\u00eb Rom\u00ebs n\u00eb L\u2019Eclisse.<\/p>\n

Trilogjia mund t\u00eb cil\u00ebsohet si nj\u00eb reflektim mbi gjendjen e njeriut n\u00eb nj\u00eb bot\u00eb t\u00eb korruptuar, t\u00eb dominuar nga nj\u00eb progres i pashpirt dhe imoral. P\u00ebrmes k\u00ebtyre filmave Antonioni realizon nj\u00eb analiz\u00eb objektive me konturne pesimiste q\u00eb turbillon shpirtin e shikuesit dhe krijon nj\u00eb ndjenj\u00eb t\u00eb p\u00ebrhumbjes, shqet\u00ebsimit t\u00eb brendsh\u00ebm dhe tjet\u00ebrsimit. Mund\u00ebsia p\u00ebr t\u00eb shprehur dhe jetuar ndjenjat midis burrit dhe gruas \u00ebsht\u00eb plot\u00ebsisht n\u00eb nj\u00eb situat\u00eb t\u00eb dyshimt\u00eb dhe n\u00eb nj\u00eb kriz\u00eb t\u00eb thell\u00eb ekzistenciale. Personazhet duken t\u00eb m\u00ebrzitur, t\u00eb pafuqish\u00ebm, pa referenca t\u00eb q\u00ebndrueshme dhe t\u00eb motivuar vet\u00ebm nga d\u00ebshira p\u00ebr t\u00eb k\u00ebnaqur pasionet e tyre trupore. Marr\u00ebdh\u00ebniet e tyre jan\u00eb t\u00eb pasuksesshme, pa ndonj\u00eb vler\u00eb emocionale. Jan\u00eb t\u00eb destinuar p\u00ebr t\u00eb humbur, madje edhe p\u00ebr t’u b\u00ebr\u00eb pjes\u00eb e peizazhit, t\u00eb nj\u00ebjtit peizazh q\u00eb Antonioni shqyrton me stilin e tij abstrakt dhe anti-natyralist.<\/p>\n

Hap\u00ebsirat boshe dhe t\u00eb heshtura si ato Si\u00e7ilis\u00eb, ose ato urbane n\u00eb Milano dhe Rom\u00eb shfaqen si pasqyrim i nj\u00eb realiteti t\u00eb shqet\u00ebsuar dhe t\u00eb padeshifruesh\u00ebm, aspekte\u00a0 t\u00eb vazhdueshme t\u00eb filmografis\u00eb s\u00eb Antonionit. N\u00eb k\u00ebt\u00eb realitet t\u00eb paqart\u00eb kamera vazhdon lirisht n\u00eb hetimin e saj t\u00eb ambjentit, shpesh duke e detyruar shikuesin q\u00eb t\u00eb heq\u00eb dor\u00eb nga t\u00eb kuptuarit e mekanizmave t\u00eb zakonshme t\u00eb shkak-pasoj\u00ebs s\u00eb komplotit, deri sa v\u00ebmendja zhduket edhe nga vet\u00eb protagonist\u00ebt e filmit, t\u00eb cil\u00ebt zhduken natyrsh\u00ebm si\u00e7 ndodh me Anna n\u00eb L\u2019avventura dhe n\u00eb t\u00eb nj\u00ebjt\u00ebn Monica Vitti- e cila teksa \u00ebsht\u00eb lajtmotivi autentik i trilogjis\u00eb zhduket n\u00eb mbylljen surreale t\u00eb L\u2019Eclisse. Pik\u00ebrisht ky epilog i paharruesh\u00ebm tregon d\u00ebshir\u00ebn e Antonionit p\u00ebr ti dh\u00ebn\u00eb lamtumir\u00ebn kinemas\u00eb narrative, duke zbehur edhe karakteret si pik\u00ebmb\u00ebshtetjen e fundit t\u00eb referenc\u00ebs t\u00eb p\u00ebrdorur r\u00ebndom nga publiku.<\/p>\n

Por ka m\u00eb shum\u00eb: me sken\u00ebn p\u00ebrmbyll\u00ebse hipnotike, Antonioni arrin zenitin e tij krijues dhe vizionar duke filmuar r\u00ebnien e ngadalt\u00eb t\u00eb koh\u00ebs n\u00eb t\u00eb cil\u00ebn t\u00eb gjith\u00eb jemi t\u00eb zhytur, duke trup\u00ebzuar k\u00ebshtu at\u00eb \u00e7far\u00eb \u00ebsht\u00eb m\u00eb abstraktja dhe q\u00eb paradoksalisht e perceptojn\u00eb vazhdimisht aq qart\u00eb.<\/p>\n

Personazhet e triologjise do t\u00eb rikthehen n\u00eb vepr\u00ebn pasuese t\u00eb Antonionit \u201cIl deserto rosso,\u201d por rezultatet nuk do t\u00eb jen\u00eb aq madh\u00ebshtore. P\u00ebr k\u00ebt\u00eb arsye, Antonioni udh\u00ebton jasht\u00eb Italis\u00eb duke l\u00ebvizur n\u00eb mes mjegullash dhe shkret\u00ebtirash, n\u00eb k\u00ebrkim t\u00eb ideve t\u00eb reja p\u00ebr kineman\u00eb e tij poetike.<\/p>\n","protected":false},"excerpt":{"rendered":"

nga Anisa Vrenozi Nj\u00eb heshtje e ndryshme nga heshtjet e tjera. Drit\u00eb q\u00eb ndri\u00e7on m\u00eb shum\u00eb se drit\u00eb t\u00eb tjera. Pal\u00ebvizshm\u00ebri. K\u00ebto jan\u00eb disa prej karakteristikave t\u00eb s\u00eb njohur\u00ebs si \u201cTrilogia dell\u2019Incomunicabilit\u00e0\u201d- Trilogjia e pamund\u00ebsis\u00eb e Michelangelo Antonioni, e p\u00ebrb\u00ebr\u00eb nga filmat: L\u2019Avventura- Aventura (1960), La Notte – Nata (1961) dhe L\u2019Eclisse \u2013Eklipsi (1962).<\/p>\n","protected":false},"author":2,"featured_media":345,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[218],"tags":[217,224],"class_list":["post-344","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-letersianeekran","tag-filma","tag-filmologji-2"],"_links":{"self":[{"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/posts\/344","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/comments?post=344"}],"version-history":[{"count":0,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/posts\/344\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/media\/345"}],"wp:attachment":[{"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/media?parent=344"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/categories?post=344"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/tags?post=344"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}