Interview with actor Bep Shiroka (1933-2010), Merited Artist!

Below is an article by Mr. Xhahid Bushati, an interview with the famous actor Bep Shiroka.

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Unforgettable Bep Shiroka always interesting, surprising and amazing. Interview, which surprisingly started the journey many years ago, but which never saw the light of publication, because day by day the “biography” and portrait of Bep Shiroka was filled with new, old, unknown details; with fresh and unexpected details…, but always interesting, surprising and amazing. Acting secrets, stage secrets or… While I was talking and continue to talk to this day…

Bep Shiroka was born in Shkodër, on September 25, 1933, and passed away in this city, on July 1, 2010, at the age of 77. It seems to me that this interview is still unfinished, because many memories are “knocking” at her door… Apparently it is the continuation of a conversation, even though Bepi left this life 6 years ago. – J. Bushati Are you curious to know what the newspapers and TV say about you? No. It seems to me a waste of time… It doesn’t fill my mind that it is something. Yet people talk about it. I even have her at home, my wife. She looks for herself, for the children, for the grooms, for… In the end, she looks for something for the husband as well. She tells me…, as they say in a word, she breaks down my horoscope.

If it happens, how do you react? See, not to say 100%, 99% never comes true. Although, recently smothered me with love. The beautiful thing is that I will always fall in love with someone according to horoscope predictions. And the most beautiful thing is that… my wife always tells me these things too. (laughs)

Let’s leave the horoscope and not leave the TV. Are you more drawn to morning coffee or the news on television? Before I do one or the other, I say hello to my nephews and nieces that I have here, nearby, in the photos, but who are currently far away, in Italy. I wish you: “Nadja mire!” – as we Shkodran people say. In greeting them, I do that inner monologue that we, actors, say, monologue that has a special magic of grandfather’s love for grandchildren. In that monologue, I remember how I spoke to them on the phone, how they laughed, how the childish voice of the (eldest) nephew has started to become a man, how I talked with the two nieces in a lyrical and intimate way, then… how between many words Albanians entered as guests and uninvited, many words and expressions of the Italian language, then… like a sea wave comes rushing and scares me and I get sad, a tear escapes my cheek, then their light comes again and rejuvenates me. I, their grandfather, pray to their light… The next day, I can’t wait for tomorrow to come, because I’m waiting to talk with those lights of life…

Your hobby? My main hobby, which would have been my path, if I hadn’t made a few tricks, was painting, and it is to this day. I have been in the theater for 40 years and I have never left painting. It has calmed me down. Even one summer… (it’s about the year 1997) I worked so hard that it made me forget the troubles and stresses of a wild and tragic time. Now let me tell you another curiosity. As a member of the League of Writers and Artists, I was not accepted as an actor, but as a painter. I also had another hobby. At my father’s house (private with that little yard) I enjoyed the gardalinas and the canaries. I took care of them. I never thought to sell them, but to forgive them. I forgave quite a bit, and, surprisingly, they didn’t go well for me. I also raised rabbits. I have forgiven them too. Except, ama, and don’t be surprised, I don’t know what rabbit meat is like. I haven’t drowned anyone in my house. I also kept pigeons. Now in the palace I can’t keep them anymore, because we are so tight that we can’t keep ourselves. Then we can’t make the rooms a zoo!…

You don’t even have cardellina anymore?! Not even cardellina now, no. One of the reasons why I removed the cardellina, canaries, etc., was my work in the theater. None of the family members were worried about this job. My wife said: “They make us dirty…”, the neighbor: “They make us noisy…”, my father, surprisingly, told me: “How do you throw stones at me…” etc. etc. Then we went on tour. They often left me without food or water. So that the innocent cardellinas suffer, what did I do, I gave a couple of the best canaries to Ndokë Pali, a friend of mine who left his “life” and “head” behind them.

If I’m not mistaken, you had a special love for birds. True? Yes. I had a close friend and this was the talented painter Ismail Lulani, who had an even greater love for birds. There was also an extraordinary patience, I would say to the point of pain, for them. He treated those creatures as children and worshiped them to the point of sanctity; so much so that he even experimented with birds. He crossed race after race. Ismaili kept both pigeons and hens. There really was a zoo at home. He was caring and never knew how to complain. He kept beautiful things at home, because his soul was beautiful. And then his work, it is magnificent… Ismaili is not alive today. He has left a big gap in our city, Shkodra. He was a wonderful man. We grew up together. Initially, it was the painting course that connected us, which we did at the House of Culture. And our company lasted not a little, but 50 years.

During a conversation we had a few years ago, among others, I also remember this expression: “I came from the street…” Am I wrong?! You are not wrong. It is completely true. This reminds me of the beginnings of my artistic path. Artistic beginnings…! I think they have nothing special with others. The ABC of this road begins… And I don’t know why, as if a distant, loving, innocent voice calls me even today. True… Like all children, I also started with those children’s shows in my neighborhood. The first “nest” was the basement of my house. Now, in addition to the voice of my childhood, I am also calling the memories through the years. I remember teacher Lec Sekujn. He wrote with his left hand. Later, from teacher Leci, but this time I was in the third grade, I played in the drama “Rrugaçat e penduem”. I don’t know if this drama was staged again, or written by the left hand of my unforgettable teacher! I remember it was a pleasant and educational drama. Then my path continued with recitations and interpretations of theatrical pieces. In 1945, I acted in the drama “War of Tirana” by S. Vaqari, which was staged by the Pioneer House. I remember this part, which we also gave to the former school of Parruca. That school also had a theater hall. I have also been active in the painting circle, in the children’s choir, in… I liked everything artistic. Maybe my inquisitive nature played a role here. Later, I became active in the theater group of the House of Culture. I collaborated first with Teufik Duka, then with Andrea Skanjeti, as directors. While for a short time with the artist Preng Lëkunda. I said all this, but to tell you the truth, I had no intention of doing theater. As it seems, slowly, inexplicably, came the desire to see spectacles. I saw them with pleasure, never missing them. I saw them even with a critical eye, how critical could my eye be, then that of a child!…

As if you lost me on the way…? No. I came from the “road”… But the memories are so numerous that sometimes they don’t leave each other in turn. Do you really want to know how it happened…? Then, I worked at NTLUS (… lest I forget, I also worked as a photographer). A beautiful spring day, I remember it was Sunday. I was walking around (this is a Shkodran tradition) in the square of my town, when the director Andrea Skanjeti stopped me. He says to me: “Bep, how would it be if you came to work in the theater?” I was surprised. Then, laughing, I said: “Who, me…?! Why do you think I do this job?!” Andrea tells me: “You come once, try it…!” We set a day and an hour. In front of the jury, I recited a poem, made an etude as I thought, and as a closing I showed a barcolete, one of those with Fin Shkodran humor. Surely they must have been satisfied, that after two days the courier of the House of Culture came looking for me. Cuf was the name, Cuf culture was what they called it in the city. Now I began to think seriously. My father, Kola, who was involved in theater for many years, as if… he didn’t like it. Friends did not leave me comfortable. They told me: “You belong in the theater!” And… “they forced me”! I entered the professional theater of my city 15 days late. But I entered. It was 1960. I went in and… collected my mind. Throughout my artistic life, I have followed very carefully and implemented the advice and teachings of the directors. I worked with a lot of desire and passion, as much as I knew of course, and I have come to where I am…

Do you remember the first role? My first role as a professional in the theater, which has a good memory, was that of Vel Sokol in the drama “Nora” by Andrea Skanjeti. It remains dear to me that… I felt like I had entered an oak forest with old actors who were famous, who had given face to the “Migheni” theater. And I among them, like a sprout, sought to go as high as possible, without the sun, to grow. So, as I said, I was entrusted with the role of Vel. When you make a work balance, you can compare the roles with those kilometer stones on the road. Although it is the first and I am far away, it “cuts off” more than the others. Today I was performing that role and if I had the opportunity to start from the beginning once again, I know how that role is performed. I know that there were flaws, I know that an article was written where I was criticized. The flaws of Veli’s role were not due to my unwillingness, but due to not knowing the language of the theater. So don’t forget: “… I was coming from the street…”.

The director spoke to me and I did not understand him, because I did not understand the language of the theater. They recognized some qualities in me that I had shown in the amateur groups, but nobody knew who Bep Shiroka was on the inside. However, my interpretation, having Roza Djuxha (Anagnostin) as a partner, brought a new atmosphere to the theater. Let’s not forget the names of Paulin Preka, Rrok Dajči, Fejzi Spahija, Hajrie Sula… In my conversation I used the term: “new atmosphere”. And this is true. It was necessary because there were no actors to play the roles of young people. Actors Lec Bushati, Tinka Kurti, Paulin Lacaj, had already somehow overcome their age…

Years of artistic career and how many roles have you performed? More than 40 years in the theater. I participated in about 160 dramas (premiere, drama, comedy). In most of them, maybe also due to my luck, maybe because I didn’t have a better partner than me, I almost played main roles. But also extras, as well as characters… I have had very well performed, average roles and those that have not turned out well at all. Even, I had a chance, I tried a lot for a role, and I didn’t get it. This happens in the life of an actor… So, and theater is beautiful: one play is not the same as the other. As it is rightly said: “In the theater every night a work is born, grows and dies”. In a word, the actor performs many roles, not all of them are perfect. But there have also been dramas with a poor artistic level, which I had a leading role in, and I can say that… it seemed to me that it was not my interpretation… It didn’t bother you. I don’t want to remember it… Even my memory wants to forget it… But there were also cases, really small roles, three words the whole role, but it gave me wings to fly… However, I have 20 roles in my heart. We were actors who worked in difficult conditions, so we were not given the opportunity to give… Politicization, formats, schematism grew like mushrooms. However, in this environment we grew up and became actors. I performed in the dramas of Kola Jakova, Fadil Kraja, Ndreke Luca, etc. I have also performed the role of Viktor in “Histori Irkutase”, of Aleks Musha in “Këneta”, of Shpend Sadria in “The Old Man of the Mountains”, of Dash in “Bullet in the Dowry”, of the seventh witness in “The Investigation”, of Garsen to “With closed doors”, to Reshit to “Shpartallimi”, to the old man Amo to “Cmurosja”, to the old man to “Invitation to dinner”, to “Baca i Gjetajve, to “Franku i-t”, to “The Visit of the inspector”, to “Roots with long daggers”, in the theater of poetry: “Song of proud pain” and “The story of Macbeth”… to “Ishulli i Seteni” in the role of Gabriel, a character that caused me a lot physical, spiritual and artistic fatigue to realize it…

Do you have a role or some that have resonated with your life? Every director, when he sets out to cast a role, sees something of you. For example: the author’s description of the character’s outer side, his inner world, etc. etc. So the director tries to find the figure that fits this figure. With “he saw you somewhere…” with those features I mentioned above, add the actor’s experience, the director thinks you will do the assigned role. Disappointments can also happen… It is important that the actor puts himself into the role in a natural, convincing and non-ordinary way. To give his inner, rich world from himself…

In the theater pieces you performed, what was your artistic opinion of the directors? I remember all the directors with the greatest respect. And knocking on the door of the years, I remember… when I entered the theater for the first time. Director: Andrea Skanjeti, a very good man with a wide culture. He devoted his life to the theater. Lec Shllaku was also a director at the “Migjeni” theater. At that time I was not in the theater. He was a well-known director who, not only in the theater of Vendlindja but also in Elbasan, left his mark. In this second his name created him. After them, Esat Oktrova was the first to come after finishing school. The Theater of Shkodra owes a lot to him… especially my generation. We loved him a lot… Then in my artistic life, the director who took the most place was the People’s Artist, Serafin Fanko. Not only a talented director, but also a very good actor. He worked for many years and created an interesting profile for the theater. I was lucky… I don’t want to forget that I also worked with Mihallaq Luarasi in “Cuca e Maleve” and with Arbe Kumbaro in “Franku i-t”, in which I played one of the most beloved roles of the most beautiful of my life. Despite the fact that the show was made at an inappropriate time, because it was the time of the beginnings of Democracy, and then there was a lot of chaos, destruction, noise… So the piece did not have a long life. I repeat, it was a time when windows were broken, and as a result, many windows were broken in our theater as well. So, it appeared about 10 times. But, it was a passionate and level staging by the director Kumbaro.

Can the actor be a “forgotten” figure? Ehh..! I had the great fortune of working at the “Migheni” theater. I can compare the stage of this big theater with a flower garden, where all the flowers have bloomed, and in a figurative sense, all the flowers have been full of colors and pleasant. I don’t want an actor to be a forgotten flower, and oblivion to be an actor’s companion. The actor, with his game, has never let the stage be covered by dust, even more so by oblivion. The actor’s life has given life to the scene! And, since I have never liked oblivion, I want to say at least a few words of memory for some forgotten figures in quotes, who have given their talent and soul, and with love have sculpted and created the face of theater “Migheni”. Tinka Kurti, Zef Jubani, Vitore Nino are rightly mentioned; but there are also some other figures who were beside them, true, maybe they said two words, but in the interpretation of those two words they shone, they were like light. They have excited you! They also resemble stars. Although small and far away, they shine. They are, well, stars!… Such were Adem Kastrati, Merited Artist. One of the rare actors that the “Migjeni” theater has had in terms of his talent and exact intuition. Without going into details of his life he was a wonderful man. Paulin Lacaj, a wonderful character actor, a very good, wise man, the master in the true sense of the word, who worked the role in detail; detail, detail everything. It was Ndoc Sheldia, brilliant, really with some small things, but shining. It was Prenkë Lëkunda, very powerful. There was Pistol Soja, Jonuz Dini, Klotilda Shantoja, – the latter a very charming character actress, a person with a pleasant mood and then a singer with a beautiful voice. Therefore, when I entered the theater, I found myself among these people who offered me a big and magical world of acting. And, when I entered, Paulin Preka entered as well, because even later he moved on to variety shows, he was a rare actor in drama, Roza Xhuxha was two years before; entered Rrok Dajçi, Fejzi Spahia, Hajrije Sula, a wonderful actress, who later went on to stage but was also like that in the theater. Here, then, these and others, which left their mark on the theater scene, should not be abandoned over the years, it is unforgivable not to remember anyone, it is unforgivable not to respect the values that were created in decades. Partners… you probably remember… How not.

As you said yourself, your “weak point” is painting. Can you draw us some of the partners? I’m thinking… First of all I want to say that the stage is a dear, dear and sacred place. There, we have the same responsibility, like the one who has a day in the theater, like me who has 40 years. We are in front of the audience. And the spectator will not know: who I am and who he is. If he or I have left a mark with the interpretation, after all we have done the job. For this reason, in the broader view, I have also called the spectators my partners. They loved me and applauded me. I thank them and owe them my whole life. Even today that I have retired, when I meet many of them, during communication with them, I understand that I have not retired yet… Now let’s come to the “weak point”. I have had partners almost all of them. The first partner I performed in the theater was Roza Xhuxha (Anagnosti). Then, for a very long period of time, where a large amount of dramas are counted, the main partner was Tinka Kurti (People’s Artist). It is a privilege, honor and pleasure to perform with such a partner. You have to have skill to play with her because she is a powerful actress with a wide range. I have learned a lot from her… I want to remember that I have also had partners in many dramas: the talented actress Vitore Nino, my dear friend Ndrekë Prelë, Lec Bushatin, Prenkë Lëkunda, Ymer Balë whom I am a very good friend. He is far away today, and I miss him… I also miss the Shllaku couple (Pasqualina and Bruno), I can’t forget Nefail Piraniq, wonderful as a person and as an actor… I had all of them as partners, just like that as I said at the beginning, some more and some less… This is life! We, the actors, spent more time with each other than with family members… How did you work with the role and how did you embody it artistically? I can’t say that when I did this role, I had no sleep. And to sell my mind, I could say: “I did this, or, I sat without eating, or, I watched so-and-so, or, I stood behind so-and-so as he walked… I didn’t do these things with him, to tell the truth.” I tried to make the roles as simple, as human as possible. So I thought that I give them life and they live. There is also a problem here. Did I manage to draw them, that’s another matter. This will be said by researchers and critics, as well as spectators… I, in my artistic career, have strictly followed the principle that the irreplaceable actor of Albanian humor, the brilliant actor Mihal Popi, had when he said to the director: “I want to know three things: – What is this role, this character?, – What does he do?, – Where does he go?, I know the rest!” With his interpretation from simple to greatness, the great artist Mihal Popi (who was born in Shkodër just like the other great artist, Sandër Prosi), left masterpieces of roles, such as: the two prefects: Qazim Mulleti and Andon Andonovići, that of the knight to “Lady of the inn” etc. that remain immortal in the golden fund of Albanian comedy. Let’s be clear, I’m not doing this to compare myself with Mihal Popi, because I’m not anywhere, but I haven’t messed things up too much, I haven’t made big theories and wondrous philosophies. I tried to work simply. I tried to keep my feet on the ground. This has helped me to stand and not fall. Well, this is the secret we can call “my”. I have no other secret… I have always had it as my characteristic or as a nature: I tried to see the role from the first moment, to read it. I have drawn it in my mind that, this is how he should be. Drawing must have helped me a lot. Often times I have become ix characters: o dressed like this, or dressed like that. I have done it on several plans and it has given me results to see some things better. Another curiosity. My texts are full of “drawn” characters, most of which I have interpreted.

A question again about the role: what did you get and what did you give? I have tried not to be “superman” and above others. I didn’t like the flights. I like (and have always done) that my profession is not above the professions of others. When you don’t respect another’s profession, even if it’s a bad one, don’t expect others to respect your profession. This is life. And this, and that, and that, and that… they all serve life, as my profession as an actor serves. That we, the actors, are like in a showcase. We are there on stage, where thousands of eyes are watching and following us, sitting in chairs. Therefore, there is a wide recognition in civic life. And why not even from clubs and cafes you can have invitations… The important thing is not to make such concessions that damage your personality. However, the proverb of the people: “Your friends know you, are you good, my mother!”, remains a precious stone in my life.

Now let’s come to the question: “What did you take to the theater?” I believe that all these are reflected on stage in the roles… I remember when I received the title “Merited Artist”. I say two months had passed. I was leaving the theater. It was raining, like in Shkodër. I had passed the turn of the theater when a man approached me wearing a cotton fur coat and a pair of big muddy boots. He tells me: “O Bep Shiroka, I was glad that they honored you”! I didn’t really know him. I didn’t even see it from the outside. I was impressed by his special congratulation with spirit and no guile… I will never forget it. It made me think: “I have also done something for this city, for my Shkodra!”

Do you like humor? Of course yes. That Shkodra has not lacked humor and comedians. Laughter from Shkodran comes from mother’s milk. But I was born in a house that became humor. I am the son of Kolë Shiroka, known in Shkodër for humor and Carnival.

Did you mention father? Yes. From him I inherited the love for painting, for music…

And humor… And humor, of course. But I was not as good as him. Ah, one more thing. My father’s humor helped me build the character of the gendarme in the movie “Concert in 1936”. Always with humor. I am the grandson of Filip Daisa, mentioned for the famous barcoletas from Shkodra. My own mother, I remember, once said: “In this house only laughs”. So I grew up in a comedy environment and I definitely got something… Not that I’m a comic. I don’t call myself that. Actually, I’m not, so much so that I don’t know how to shoot a two-line verse. I call myself a drama actor, because I like drama, it takes first place. Every actor is good at playing comedy once in a while. One may say: “I can’t!” I maintain the opinion that the actor needs to change his face in order to expand his face, sometimes to get away from the “dark eyebrows” of the drama.

Although years have passed, I want to ask you: “How did your father, Kola, organize the Carnival party? Carnivals are one of the many activities for which the city of Shkodra has raised the flag first. So, Shkodra is the city, where for the first time the carnival party took place, dating back to 1878. Carnivals were organized on two days: Sunday for children and Tuesday for adults. From that time the carnival turned into a joyful popular celebration that pointed out the negative phenomena. Carnival, as far as I know, is a pagan holiday, but one that has been elaborated over the years and adapted to the specific conditions of different countries. In our country, the carnival festival, or as the people used to say, “festival of faces”, took its greatest development in the early 1930s. This celebration was organized by the population of the Catholic faith, one night before Lidhura (Lent) began, but enjoyed and participated by the whole city regardless of faith. The party usually started on Tuesday morning and ended at dinner. There were no organizers in this spectacle, all the cultural societies of these years took part in it, when I say there were nearly 4000 participants without counting the number of spectators who also took part in the decor of this show with their clothes. As a tradition of this day, it was the preparation of pancakes, cheese and brandy. Every family opened the doors of their houses and people went in and out to each other, despite not knowing each other. The groups of societies that were preparing in Italy, came a month before the celebration. Likewise, Shkodra craftsmen started selling masks for this day a month before the holiday. This atmosphere continued until 1940, when the carnivals were interrupted due to the war. The main topics that were addressed were the troubles and problems of the people of that period. This carnival group led by Kolë Shiroka managed to perform all the way to Tirana in front of the royal palace mocking the then ministers. This has caused the “Rozafat” society, which was represented by Kolë Shiroka, to be banned from organizing carnivals. After the war, around the 1950s, the father was called to organize a carnival, but this time the theme was political and ordered from above. They had to make fun of Churchill, Truman, De Gaulle, Tito, etc. To make this holiday concrete, they brought two cooks to our house to cook the pancakes, some tin boxes with cheese, as symbols of this holiday. These types of carnivals ordered from above, took place 2-3 in different periods, as always the theme was in function of the communist government. Carnivals were celebrated in Shkodër until 1967. After these years, this tradition was forgotten, to be reborn again after 1992.

Then, let’s return to the figure of the actor. What is the difference between these two plans (comic and dramatic) and where do you feel better? Better… Man feels himself more comfortable where he likes more, where he teases you. I feel myself, as I said above, in drama. An example. The drama “Investigation” by P. Vajs, staged by the People’s Artist, Serafin Fanko. It was the 80s. I don’t have a big role in that drama. I have a character called the 7th Witness who speaks three times from a joke and has a seven minute monologue. Seven minutes monologue! It was a monologue that even half a minute longer on the stage, I was not good at standing. In that monologue, there were prisoners, dead people, people who were tortured, who cried, who were terrified, who screamed, who screamed, who hoped, who dreamed, bones, drowned children and women, children who could not pronounce one word, women asking for help… What that monologue didn’t have inside! But, I have that role, in my artistic career, like a precious stone and I keep it precious. It is a beautiful and unforgettable memory! I’m not saying I’m bad at comedy. But in terms of the importance of the work, they are the same as drama and comedy. For comedy, I’m against some who say: “Come on, I’m ruining comedy.” And they forget that even in this genre you have to have, even, more discipline than in drama. Personally, I am also of the opinion that there should be precise improvisations, but that justify the situation artistically. So I’m not in favor of making a joke for the sake of a joke, especially since this is comedy. Because, this gender will work, sweat, thought, maybe more than drama. Therefore, when I am performing in drama or comedy, I say that I am performing in the theater.

Let’s stop at the movie that brought us “the road”, I meant… conversation. You have created two interesting figures that will be remembered for a long time: the fanatic in “The Happy Couple”, the gendarme in “Concert in 1936”. How has the acting game of the actor Bep Shiroka, who grew up in a Shkodran environment, “drawn” them?

Before I answer the questions I am making a parenthesis. I’ll say it again: I’m usually more into drama. I have it close to my heart. But… it wouldn’t be bad for the actor to act in comedy while working. Elsewhere, above, I have elaborated on this problem. I am emphasizing it because I want to relate it to myself. I think that it is not clear: “Oh in the drama, oh no! O in comedy, oh no!” Based on this thought, I entered comedy. The first comedy that successfully passed the “exam” was Bik Pepa’s “Happy Couple”. Now I finished the parenthesis. I am answering questions. “The Happy couple” has a story. It was originally a sketch. The talented comedian, the People’s Artist, Tano Banushi, saw it and said: “Let’s make it a comedy!” Biku (Pepa) did not hesitate. It worked quickly. We all worked happily, led by the talented director Serafin Fanko, who left us “free”. And every day we joked with each other before the work on the comedy started. “Kit e prit” joke, both from me, from Vitorja, from Nefail, and from Marija, who were actors in this comedy. Then came the artistic selection, and what remained of value became the meat of the comedy. We showed it. The echo of success fell on the ears of the actor Ndrekë Luca and later of the director Piro Mani. Their suggestion was to make a movie. And I played the role of Fanatic in this film. Before I talk about the role, I want to give an opinion about the film: it seems to me that it didn’t turn out to be very cinematic, as if it is a bit rigid, maybe they trusted too much comedy from what it was ready for. Now for the role of the Fanatic… I tried to give Shkodran, not because of that “Fanatic”, but because of the time that passed, that many have had two faces: one at home, one at work. So, the two-faced man was the basis. From what I have read in the press, my interpretation of this figure has been well received. Apparently it has attracted attention. I was lucky enough to make the set for the comedy in question. So I made Fanatik’s house with Shkodra musander. The houses are silhouetted, while the musandra is realistic, the real prop. This was for the comedy that we put on the stage of the “Migheni” theater. When it was made into a film, I will tell you that we did it with clothes, furniture and furniture in our homes. Even my beloved canary, who in the film had the bad luck that at some point during the shooting, fell down and died, the desert! It became “killer” for the film. It hurt me… It reminded me of the birds, which I love so much!

Before we move on to the movie “Concert in 1936”, a thought about the figure of the aunt, with whom you dialogued during many sequences of the film, and who was played by the actress Vitore Nino, Merited Artist? I also said in an interview, Vitore Nino is a brilliant actress. She had a sense of humor in all colors. It flowed quite naturally, effortlessly. He had rare friends… Now… Now for the movie “Concert…” things change. It didn’t happen like in “The Happy Couple”. It was built with a script, a script for the movie. So there were other spaces. The roles were not built like in the theater. The director Saimir Kumbaro sent me the script with the note: “Bep, choose who you want to play”.

To tell you the truth, I liked the role of the gendarme. I worked on it with great desire. Maybe the wonderful group we were, such as Robert Ndrenika, Birçe Hasko, Roland Trebicka… all of them, all down to the last inhabitant of Libohova, also influenced. They also felt themselves part of this film. It’s probably the only movie I’ve ever really enjoyed. To be honest with this movie…. although I played 20. In this film I played the role of a gendarme, who remembers that he is everything and nothing. This type of guy goes after the prefect, after the Mayor, after all the officials, deals with drowning dogs, putting up posters, that is, deals with everything, shouts to the sky in vain, but no one listens. Then when it comes to details, I have in mind certain people, e.g. when you beat with a long rod, I mean one of our employees at the theater, when we used to do children’s shows, he used to carry a long rod. He rode in the orchestra pit, nervously shaking his birch. He didn’t even let the children laugh, even when it was a laughable scene.

Again with Bepi as a film actor… I have about 20 films made. I would have had more, but I’ve been thwarted by the theater every time. Not that anyone had any bad thoughts about me, but I was engaged in all the parts that appeared in the theater. So it didn’t benefit anyone that I was “absent”. However, there was a period when I went from film to film… and I have fond memories of these. I have films that I like, such as “The Happy Couple”, “Concert in 1936”. I also want to mention a movie that I loved a lot, but had a bad luck… This was “The Historian and the Chameleon”. And his odyssey begins, when 600 m of film are waiting for the film. They cut them, but they did not know what they climbed and where they climbed. Then I was called back after 6 months to shoot some more scenes, but ehhh… that movie got ruined. I am also mentioning some movies: “Like all the others”, “When the doors of life open”, “There is life in the snowy forests”, etc.

From the film we go back to the theater… Are you also known as a scenographer? Scenography occupies an important place in my artistic life. Whenever I have taken the role of a drama, I have seen it with decor, even when I was not the scenographer of that play. I have built the decor with my imagination. The first attempt to build a decor was the drama “Zekthi” by E. Vojnič. With my skills I solved the 12 paintings of this drama. Then I worked on the scenography of the drama “Fisheku na pajë” by Fadil Kraja, the comedy “Happy couple” by B. Pepa, etc. A total of 30 scenographies are made. You mentioned the scenography, but I’m finding a way to talk a little about the painting again. It’s like fishing job, old germ this painting. When we went on tour, I took the color tape with me. A landscape, a portrait, a sketch-idea, a composition… have been special pleasures for me! I participated in some national exhibition. For 25 years in a row I have been a regular fan of local exhibitions. Painting was my first love…

What are the best memories of life in the theater? This is a difficult question. I spent my whole life in the theater. Emotions and “trial” have been every new premiere. We cannot forget the worries and the play of the actors to make the show as beautiful as possible, also natural worries of our work, the role when it turned out well, joys and worries, and many other moments that are not easily forgotten… We had moments solidarity with each other during very difficult moments… However, even in these moments there were also rays of satisfaction with each other, jokes and jokes, laughter… And the laughter, between friends, surprisingly had a color of brotherhood, friendship and love…

What did you lose your job at the theater? Not only for Bep Shiroka, but also for many actors of my generation, many things have been left unperformed. Even more so, we, the actors of the province, are calling them that because, willy-nilly, we have been like that. That in Tirana the space was different and is different, the concepts on civilization were at different heights, from other districts. We are actors of several years with a great experience. Our drawback is that we did not try Shakespeare, or other classics of world dramaturgy… This is a big gap for the actor. After all, this was our fate…

How much do you feel the silence of the studio? My friends and I spent a lifetime in the theater, in the studio. I still remember that studio filled with cigarette smoke. It had become our second home, if not our first home. Because we spent more time in the theater than at home. Man has his memories. He remembers the first roles, and why not the debates, the creation of artistic figures… etc., etc. That all these, and many others that I left unmentioned, are invisibly connected to what is called a studio. Maybe the moment, occasion, invitation or longing brings me, but I go to the theater. I find that studio quiet! In complete silence. As if no one lives, as if no one works. You feel sorry, you frown, your joy is gone… And…, not leaving the studio, I want to ask you: how furnished was she? The whole value of a show does not lie in the furnishing. The first should be the talented people to make this show. Then to have a perfect direction, to have a good dramatic material in hand. When these are there, even if the studio has two chairs, the show becomes good, the show still becomes beautiful… Of course, it may lack some small garnishes, but it does not diminish the true values of the show. I repeat: the chairs, the lights, the lighting effects, the set design…etc. etc., help, but those three things I mentioned at the beginning are the basics. I’m repeating it, hopefully without becoming annoying: you can with two lamps, two chairs, no decor; to put on a great show.

But what is the magic of the studio? I entered the “Zef Jubani” studio on February 2, 1960. I came there after a hesitation. Then I put it down for good. I entered the studio. I saw those actors that I have seen in my dreams, but… that one day I could work and live with them, I never thought. There I found V. Nino, T. Kurti, V. Sekujn, R. Xhuxha, P. Lëkunda, A. Kastrati, P. Lacaj, L. Bushat, Nd. Prelën… The youngest P. Prekën, P. Sojën, etc., directed by Andrea Skanjetin. And I was found among them. I found the warmth of those people. The gates of their souls were without keys. They took me. They did not look at the age difference. Kindness approached me. I absorbed what was best, what was most beautiful and most valuable in the field of acting. And to these people, at every moment, even to this day, I say: Thank you!

The audience has always loved and applauded you… What is your word…? Not today, not today at this age that I am, but even when I was in my beginnings, I called the spectator one of the most important things in the work of people who work in the theater. Shkodra Theater has had a great name. But a merit of this name has also been given by the audience with the encouragement, with the kindness that has welcomed every performance and that has applauded every actor. Spectators, especially those from Shkodër, have followed us, supported us, respected us… A stage artist wants nothing more than this. And I have plenty of events to tell… I’m settling for just two. The first, “We were on an artistic tour in the city of Vlora. The New Year was approaching. You know Vlora has oranges. I had to take it for myself, for my mother, for… (we were very lonely in the family). I come closer. Indeed the line was long. – What do you want, Shkodër? – the saleswoman told me. – Orange, you wanted it. – Yes, you will get them, how can you not get them! Go away, you, everyone else. Don’t be sorry! This is the actor from Shkodra. We all know him. Yes, I will give him what he wants… They told him the truth, it was difficult… because there were many people in line. But everyone honored me, like the seller herself.” The second, “Again the New Year.” This time in Tirana. I approach a shop, where there were a lot of people. – Leave, let’s give that Fanatic of the aunt, something, – said the saleswoman. Come on, you Fanatic!… I bought a turkey and some apples”. This is the spectator who respects you in any case. I felt a special emotion. I said to myself: “… apparently… I too have done something small, left a mark, created pleasure for these people, who are rewarding me today.

Bep Shiroka 73 years old. Do you remember your childhood, the order behind the curtains? Along with the longing of my childhood, the songs of the birds also come to me. To hunt gardalina, I went out to the meadows, to the Brick Factory. Rather, I went to Kiri’s dam. It was a field there. There were not only children, but also men, even men with mustaches, who rejoiced and became children when the rainbow fell on the lid of the drum. It’s not surprising, passion is like that… I also want to say that when I was little, I became an apprentice, sometimes to a tailor and sometimes to a jeweler. I washed the street, bought food for the house, etc., etc. Later I worked in agriculture, painter, photographer… All these made me say “no” to work. All these have helped me in my work in the theater. They made me get to know, look at, touch things with my hands, that is, to deposit them all in me.

And today, how does the day’s ritual continue? Every day around 8:00 am I leave the house and walk to the Buna Bridge. I like to move a thread, because I have gained a lot of weight. This is my gymnastics.

Why did you choose Buna Bridge as your last stop? I don’t know, but… I’m originally from Shiroka. My ancestors lived near water. Then, where there is water, there is life. Maybe… I miss the water! In its waves, I feel the voices of my ancestors, their childhood, my childhood, and why not the childhood of my nephews and nieces.

Is this how everyday is? Yes, except Saturday. The weekend takes me with my old friends, at “Freskia”, a bar, also at Ura e Buna. When we drink that coffee or that glass of cognac, we feel as if we are under Rozafa’s protection. Although centuries have passed, we still continue to listen to her orders.

Aren’t you afraid of becoming a legend? Ah, no, we are more than three Ustalars. (laughs) And so, we have the charming, very charming Kel Spathar as the organizer (he has already passed away, – note from Xh. B.). Then the one whose chair is empty, doctor Sandër Ashta. It was the delight of the table. He no longer lives. We preserve his memory. No one sits in his chair. The glass is always full. Then comes Ismail Sulo from Tirana. This is the other doctor. It comes every week. It has its place. We have Kel Pog. He was a mechanic at PAM. Kemi Ndoc Gjergjin, engineer. He visited hydropower plants. It is now in Italy. It comes often. We also have two mechanics: Bahri Cikoja and Ndoc Kapcari. These are the “ustallars” of this table who gather every Saturday at the bar “Freskia”…

Do you say to yourself, this day was also wasted? Many times… Although I try not to waste my time. Sometimes with a friend, sometimes with a book (I really love Fishta and Migjen. Shvejk always entertains me. It remains always current), sometimes with a painting (because painting is my old passion), sometimes with a… But there are days when I wonder myself: “What should I do today?” And I automatically remember a poem by my brother, Kola, when he said during the Carnival: “There is no where to go black/ it’s too bad that the light came out/ from which the poor craftsman/ sits with his hands on his hips the day ends”.

How much place does Shkodra occupy in your conversations? Shkodra, our hometown, takes the main place. The love for him is endless… The driving force is doctor Ismaili (Sulo) (he has already passed away, note from Xh.B.). Passionate and idealistic about Shkodra, he wants to know every detail of it. In fact, there are also endless conversations about Shkodra… Don’t forget that, around this table where we gather, we are all over 65 years old. But in the spectrum of conversations we have, we often become children too. We start to remember childhood, youth, some even the period of the army, and all of them, surprisingly we come together and talk about old age. Remember, we all deal with all the problems the city has. We treat them with humor and laughter… as Shkodra knows. To tell you the truth, I can’t wait for Saturday to come again. Let’s meet, talk and remember again and again…, there under the shadow of ROZAFA!

Shkoder 1991-2017

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Albanian Cinematography in activity since 2013
Reference: Xhahid Bushati “Memory of a City” – Alba 2019 / p. 51-74 Illustration with photos from the administrators of the page “Albanian Cinematography”

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