Avant-Garde Drama and its Impact on Modern Albanian Drama of Kosovo

Abstract

Given that significant currents of Albanian drama circulated in Kosovo belong to the modernist literary poetics, it is necessary to talk briefly about the main principles that possess these trends, dramatic experiences and literary currents. The aim is to highlight the principles and features, which appear to us as the principles and features that have guided and differentiate their works. In line with developments in contemporary theater, the pace of society, modern technologies installed at the scene aggregates; they coincide with developments in dramatic genders, impact and the relationship it creates with the reader, especially the public of the time, modern drama in Kosovo in the late 60s and early '70s began to prefer the typology of absurd drama, which was in vogue at the time. It became more poetic, meaning more abstract. Closer to it are elements and sensory overlaps such as the paradoxical, particularity and astonishment, the theatricality of gestures, actions, the environment and the reduction of words, the symbolism of decors and object requisites, the structuring of the subject as reverie (borrowed by the Surrealists), the presence of internal monologue as a basic structure, the conscious mixing of times creating a "time within time" or an "anti-time", which is identified as " psychological time " without measurable physical targets, turned inside out, as an expression of mental confusion of character. From a comprehensive picture, it can be observed that Albanian plays and playwrights in Kosovo that follow principles of modern literature, from the late '60s until today, increasingly better from a structural point of view, have made use of elements and components such as: 1. surprise, expressed in numerous contingencies during the course of action dramatic, especially with the free ends of presumed paradoxical 2. contrapunct, used as a ubiquitous element between characters, character and situation, character and way of conflict resolution, word and action, what is said and what clearly meant etc. 3. rate of speed, that includes all components and becomes in situation (in Joneskos parts prompted by extreme pace, while the Beckett less, turning the situation naturally). 4. recycling and closed circles. Dense in modern drama used the so-called "revolving facility" when it finally loan stage of the break or the beginning of the episode, the beginning of gesture to the act of precursor . Not only absurd playwrights as Jonesco, especially Beckett, Brecht also has used such elements , even Sartre and Camus , but in a wider context, that includes all philosophical corpus of works, when articulated opinion initially introductory presentation of drama and resumes a new, as a circuitclosed at its end. The purpose of the letter includes just throwing light on the emergence and development of modern drama, as gender module with complex literature. Ne author paper will compare and typology.

DOI: 10.5901/ajis.2013.v2n8p121