by: Jeton Neziraj // Directed by: Agon Myftari
Actors: Tristan Halilaj, Donikë Ahmeti, Shpetim Selmani, Ernest Malazogu // Stage design: Nicola Minssen // Music composer: Gabriele Marangoni // Costume designer: Yllka Brada // Dramaturge: Stefan Schletter
Peer Gynt from Kosovo is the story of the failure of a dream. Driven by the simple hope for a better live and the pursuit of happiness, young Peer sets out from the pre-war Kosovo to find a future in the paradise called Europe. Much of what happens to the young man on his journey reflects the experience of many young desperados who leave their homelands every year full of hope. Very often their dream becomes a nightmare, when humiliated by authorities, isolated far from home, a lack of perspective and social exclusion in their new home comes together. In their longing for recognition they often become easy victims for false friends who offer the supposed security of a group. Peer finds himself respected in a gang of Albanians who show him their criminal skills and assure him protection, but despite this promise he soon finds himself in prison. During his time in jail a gradual process of radicalization begins. Religion gives him courage, a meaning in life and strengthens his self-consciousness. Here the play shows a very present problem in our societies – the religious radicalization of young men in prison. Many of the so-called holy warriors from Europe who fight in Syria today, have been radicalized in jail.
But despite all the seriousness of the topic the play never becomes pathetic or too didactic. In the end the audience leaves the performance not only deeply concerned and thoughtful, but also perfectly entertained.
„And yet one permanently feels in the audience that this modern Peer Gynt not only wants to tell an authentic story, but a true story that sets an example for all the hope for freedom, happiness and prosperity in the Europe of our days. And the disappointment.“
[Frankfurter Allgemeine Zeitung, Germany]
„The Peer Gynt of today doesn’t have an easy time as the perpetual refugee crossing paths and hoping to succeed. […] This is without boundaries and sometimes crazily funny as well as incredibly tragic, one after the other. There are borrowings from modern theatre’s expressionism; the burlesque, the absurd, realism and comedy. A performance with physical presence that will be remembered for a long time. The theme is as topical as well as hot — unfortunately.“