Prime Minister Edi Rama’s remarks at Parliament:

Thank you very much Mr. Assembly Speaker for reminding me the time limits and hereby I would like to share pain with the MP colleague who called for free speech, telling him that prior to coming to the Parliament, the Speaker’s office informed my office that I would be interrupted if my speech exceeds 20 minutes and the time limit when I would be allowed to reply to any lawmaker shall not exceed three minutes. So, you and I should forget limitless free speech here as long as that man is at that seat.

Meanwhile, I’ve said everything I had to say about the Theatre and I have nothing to say, but I will make use of the 20-minute time limit to read the statements of those who have actually lent a name to the Theatre, those who really represent the Theatre and those who were the pioneers of the protest for the Theatre, and when they did so, neither you, nor the others who have now become Shakespeare and Moliere’s hurt sons, not only they weren’t there at all, but they were also told not to even think about show themselves up there.

That protest included all members of the family of the theatre community and the protest was led not by Budina brothers, but by actors Robert Ndrenika and Arben Derhemi. I am going to answer to Mrs. Hajdari and all hurt ladies and gentlemen because of the National Theatre issue by simply faithfully conveying the statements made by the real protesters, not the political actors who play their own theatre, be it either at the new Ring Road, the old one or where the two Ring Roads intersect.

Robert Ndrenika has the following answer to you, Mrs. Hajdari:

“Please stop attacking me. For years I have supported and I do support construction of a new and modern National Theatre building and it is the duty of the Albanian state to build it. I don’t care where the state is going to find money, even if does it there where Josip Broz Tito did.”

Then, it is Arben Derhemi’s turn, because it is important one recalls that the protest was actually staged more than two years and a half ago and a true dialogue – like never before in the history of this country- has been held with the true protesters. “The group of artists, members of the movement for the protection of the Theatre, decided that they should be part of the talks and the negotiations with the Mayor. As we have already agreed with each other, we the group of representatives and the artists highlighted two important problems; the territory of the National Theatre should not be affected and an expert’s competition on the new theatre project is announced. The Theatre’s stage knows each and every one of us who we are and how valuable we are. Those who intend to stage outside the stage and the history of this temple, they are all not part of the history for all of the reasons.”

Just like you and those, who were previously here and rescinded the Parliament, are all not part of the history. You are a confusing and abnormal development in a parallel lane with the history.

Bujar Asqeriu: “I support unity and social peace and I don’t the ongoing protest. It does no longer make sense. It is normal that artists think differently. I will personally never enter that building again, because that building is a disease. I have always stated it and it is unacceptable that my friends have fallen sick while working inside that building. I am afraid I have fallen sick too. I support social peace. Neither DP, nor SP can use me. I want a new Theatre be built and it no longer makes sense that we confront each other, but leave the matter in the hands of the architects. Stop with it! This is becoming an exaggeration.”

Reshat Arbana: “We all have seen the state the Theatre building has been reduced to. Let specialists think about this issue. Can anyone play on that stage and inside that building?”

Luftar Paja: “In order for us to have a new theatre built, we the artists forget the essential things and instead focus on the mortar and brick things. We as artists should actually boost our efforts for the artistic mortar and concrete. The National Theatre is called a National Theatre and it should gather there not only Tirana residents, but all of those who deserve to come to the theatre. The National Theatre belongs to whole Albania.”

Furthermore, Altin Basha: “We have agreed that the territory of the Theatre won’t be affected and two representatives of the artists’ community will join the negotiating commission about the contract. I think that a new Theatre building is needed. A solution can be found so that the museum of the old theatre is housed inside the new building. I am ready to debate with anyone about these views. As a stage director I declare under my sole responsibility that the existing building provides no conditions of whatsoever for quality theatrical plays and shows for the spectators.”

Enver Petrovcki, in my view, it would absolutely foolish if a new Theatre is not built. I think a new one should be built, because a decent National Theatre building is very valuable to a nation. I oppose the idea that the land of the Theatre is given away to someone, but it would be absolutely foolish to oppose construction of the new Theatre. The existing Theatre building is absolutely worthless.”

Artan Imami: “I recall a meeting with writer Ismail Kadare back in 1987 or ’88. We are engaged in a conversation in one of the Theatre rooms and someone asked Kadare, what he thought about quality of the Theatre. He was staring at the falling plaster on the corner of the ceiling and replied: well, like this building itself.”

Bruno Shllaku: “As far as the Theatre is concerned, I am sorry that many have no idea that the building used to be a horse stable that the Fascist Italy built as a housing base for guardsmen. The building has certainly its values, yet it will become much more valuable of a new modern National Theatre is built on its site to match with Theatres in Europe’s biggest cities. The relics and the figures of the Theatre should all be housed in a kind of a holy place inside the new National Theatre, which I am convinced should be built.”

Niko Kanxheri: “I think a new National Theatre should be built. The nostalgia for two buildings erected to as temporary structures should be undone. The building doesn’t evoke nostalgia. The history of the National Theatre will be recorded in the archival documents, pictures from the shows, decors, costumes, music etc.”

Raimonda Bulku: “A very good Theatre should be built there. I don’t care what is about to be built on the side or above the Theatre. Let them build in the sky, if they wish to do so. I have nothing against it. I just want a new theatre be built, no matter what. The Theatre building should be absolutely be demolished. We are experiencing miserable conditions. I don’t know how we keep working there. It is really shameful to work there.”

Dirta Haxhiraj, do you know her? …: “I was appointed to the National Theatre upon my graduation from the Higher Institute of Arts in 1967. The most famous actors in 1972, including Naim Frashëri, Violeta Manushi, Sulejman Pitarka, because we were much younger at that time, they all discussed on the necessity about building a new National Theatre, because they were all becoming ill with lung diseases. Pjetër Gjoka was affected by a lung disease. Not to mention that my colleague and friend since my childhood Roland Trebicka also died of a lung disease. That building failed to provide suitable conditions. The ones who created the National Theatre themselves have called for a new theatre to be built. Our great artists demanded that a new theatre was built at a meeting with Manush Myftiu. The latter agreed, telling them he would provide a response. Violeta Manushi told him that a new Theatre should be built for the young talented stage actors. I feel much attached emotionally and spiritually to the old building, yet a new one should be built for the sake of actors currently working there and for the future generation of artists. The National Theatre should be built for the public and actors.”

Josif Papagjoni: “Could you name a National Theatre building being at such a poor state. I can’t even think about it. We should provide the opportunity to satisfy the public. When one goes to the Theatre should smell the perfume. One should feel that it is a beautiful a satisfactory building, where the artistic product is perceived. But when I go there, forgive me, but there is the smell of dampness, mildew, and rotting.”

He didn’t mention the moisture component, but you can guess it. “How are we supposed to remove moisture? It cannot be removed even if reconstructed thousands times. That building is rotted. We should undergo a full inner catharsis. This question is challenging. Can we invite the Berlin Theatre troop to perform on this stage? Can we host a festival here given the current conditions of the National Theatre? A play like King Lear or the Hamlet?”

Gëzim Kame: “The same problem has been highlighted constantly even before the past 20 years. Back then they said that the building was to be demolished. We all agreed, including the renowned actor Kadri Roshi.”

Laert Vasili: “Nobody can stop the future! The theatre project has been designed by a super architect. The author of the new theatre consults with us and for us, whereas some of them issue warmongering statements. Dear friends, this is an emergency situation. We needed the new Theatre yesterday, neither today, nor tomorrow. We needed it yesterday!”

Now, I invite you Mrs. Hajdari to take the floor and speak about the distant past.