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R S S Albanian Franciscan and Jesuit Drama and Theatre Christian R S www.irss.academyirmbr.com December 2019 S International Review of Social Sciences Vol. 7 Issue.12 I Albanian Franciscan and Jesuit Drama and Theatre Christian Literature and the Concept of Theatrum Mundi Dr. ERENESTINA GJERGJI HALILI University of Tirana Email: [email protected] Tel: 00355699853428 Abstract The first Albanian drama, "Christmas Night" by Fr. Leonardo De Martino in 1880, although late compared to European sisters, marked the beginning of the Jesuit school of literature and thought by attributing to itself the qualities of a favorite genre, and initiating aesthetic, philosophical, philological, artistic, but also religious and national principles. To observe the interest of the Franciscan and Jesuit fathers on gender tragedy-drama-comedy as major dramatic categories, but also in other genres of its application, one must examine historical, cultural, educational, and social reasons, and even theories of reading and reception of literary work, specifically of the dramatic work, which are finally summed up in Christian theater, as the philosophy of the philosophical and aesthetic concept of Theatrum mundi. Keywords: Albanian Franciscan and Jesuit drama, Theatrum Mundi, Tragedy, Drama, Comedy. Introduction It is commonly observed that Catholic dramatic authors proclaimed the need for organic collaboration between philosophical judgment and the Christian mimetic tradition, as to emphasize art's importance to human life. Starting from a cognitive and metaphysical interpretation of the Aristotelian mimesis and combining it with the doctrine of existence, the drama of the fathers litterati et sapientes seems to be a new mimesis in function of the Christian philosophy of the principles of existence, which are described by a common thread from God at the beginning, to extend similarly to all that exists. Material and Methods This article presents research made based on historical, chronological, exploratory (qualitative, or quantitative) scientific methods. The focus of the study is the dramatic Catholic production, with the relevant titles and authors identified in the article, consequently the Christian theater based on the theoretical concept of "Theatrum Mundi", which is based on the Catholic mimesis, as part of the dramatic poetics of "the theater of mercy” which is highly developed in Europe. This insight through the application of rhetorical concepts in work like ethos, pathos, and logos in dramatic discourse, gives the opportunity to deeply observe the Catholic paradigms of the time, but also of Albanian life in general, which is expressed in classical fiction as well. Dramatic Contribution The Franciscans deserve the credit of the first dramatic script, which was built on a pastoral fable, respectively "Christmas Night" by Fr. Leonardo De Martino, in 1880. ISSN 2309-0081 Halili (2019) 461 R S www.irss.academyirmbr.com December 2019 S International Review of Social Sciences Vol. 7 Issue.12 I This is also proved by the chronicles of the time, which we refer to as the writing in Arber Flag. In Year I, No. 6 on May 30 1884, De Rada writes: Don Leonardo, the vicar of Troshan has written a sacred pastoral drama, full of truth, it is the first Albanian drama, which was performed by pupils of the popular school of the Friars Church of Shkodra, the night of Christmas in 1880( Arber Flag. 1884). Through this admission, De Rada gives another clue. Apart from being considered as the first work of the Albanian dramatic genre, he has also dated the historical record of the first Albanian theater play in our country and the existence of theater groups. “… Christmas Night – The Human God - the real savior of the people. Drama barituer, performed by children of the popular schools, in the chapel of the little friars, in Shkodra, Christmas Night of 1880. ([da Greci] Martino, P. Leonardo de. L’arpa d’un Italo-Albanese.1881. p. 309-328. We must add here that De Rada got the source of the words from the author himself (de Martino), who presented the information like this: “Christmas Night - L’uomo Dio, Vero Salvatore de’ popoli; dramma pastorale, rappresentata da’ fanciulli delle scuole popolari nella chiesa de’ Frati Minori in Scutari la note di S. Natale, 1880” (ibid., p. 309). Fr. Leonardo De Martino was considered as the initiator of the Franciscan literary school. His figure and activity were highly esteemed by our literary personalities like Ernest Koliqi, for whom he was the forerunner of that movement among our papers. At the same time, Filip Fishta considered him a teacher for his excellent students. Another consideration is expressed by Zef Pllumi, who believes himself to be the leader of the cultural formation of Albanian Franciscans. The considerations that compose Franciscan culture are distinguished by three dimensions: 1) national, 2) Western cultural, and 3) universal religious; these are the considerations that we fully agree with and that support our arguments. Jesuit Dom (Monsignor) Pashko Babbi (from the Original signing D.35, d.1881, ACA), is presented with "The Son of the Jewish", the first of which was translated by Fr. Zef Valentin. The full, original drama is now being researched and studied. It is obvious that the first Albanian drama also marked the beginning of the Franciscan school of literature and thought by giving the attributes of the preferred gender to initiate aesthetic, philosophical, philological, artistic, but also religious and national principles, all in honor of the drama genre! Observing the interest of the Franciscan and Jesuit fathers on the gender: tragedy-drama-comedy, as major dramatic categories, but also in other genres of its application, one must examine historical, cultural, educational, and social reasons, and even theories of reading and receiving literary work, specifically dramatic work. The constellation of Franciscan and Jesuit fathers, the Catholic clergy in general, over the course of our history, marks a large number of contributing personalities in the field of artistic creation; it encompasses all areas of human thought and creation: Fr. Leonardo De Martino (Arberesh) (1830-1923) poet, playwright. Dom Pashko Babi (1843-1905), translator, writer. Dom Ndue Bytyçi (1847-1917) poet, pedagogy scholar. Fr. Anton Xanoni (1863-1915) writer, textbook author, literary anthology compiler. Dom Ndoc Nikaj (1864-1951), historian and writer. Dom Ndré Mjedja (1866-1937), poet and philologist. Fr. Pashk Bardhi (1870-1948), writer. Fr. Gjergj Fishta, (1871-1940), poet, playwright, translator, publicist, etc. Fr. Shtjefjen Gjekov (1874-1948), ethnologist, researcher of customary law. Fr. Pal Dodaj (1880-1951) publicist. Fr. Marin Sirdani (1885-1962), writer and historian. ISSN 2309-0081 Halili (2019) 462 R S www.irss.academyirmbr.com December 2019 S International Review of Social Sciences Vol. 7 Issue.12 I Fr. Vincenc Prennushi (1885-1949), folklorist, poet, playwright, translator. Fr. Anton Harapi (1888-1946), speaker, publicist. Fr. Justin Rrota (1889-1964), linguist, writer. Dom Lazer Shantoja (1891-1945), poet, publicist, first Albanian Esperantist. Fr. Bernardin Palaj (1894-1949), ethnologist, poet and playwright. Fr. Donat Kurti (1903-1983), ethnologist, professor, translator. Fr. Benedikt Dema (1904-1960), writer and publicist. Fr. Gjon Shllaku (1907-1946), philosopher and educator. Fr. Daniel Dajani (1916-1947) publicist and so on, they are also real contributors to the establishment of Albanian schools, in the education of the population and the dissemination of knowledge. With the motto of their apostolic-pastoral and patriotic Religion and Homeland, a task for the Franciscans and Jesuits was education, particularly in conditions of almost total illiteracy and deteriorated language after five centuries of occupation. In this picture, the return of attention was immediate in the traditions and significant figures of Albanian life, highlighting the parallels (mythical, legendary) and the historical- literary arsenal through the instrument of the native language. A great contribution was given to our classical literature, as it has been observed and continued, that the gender of drama was a preference for their creativity, and this bears the explanatory argument, due to the particularity of gender itself, but also of the extra-national panorama that we mentioned earlier. It is widely known that drama as a gender, apart from the literary life referred to by its literary text, showcases the theatrical and stage life as bi-planned, representational text-theater. From the ancient theater, to masterpieces of ancient dramatic literature, the theater remains the fastest, most direct, most emotional and most communicative form to express authorial ideas and intentions, and to decode time intentions through the conventions of theatrical play. This has been a contemporaneous aim during the development of dramatic gender in the relevant times, but especially during the period of classicism, with which the theater assumes direct ideological and psychological significance, integrating with the author's dramatic subject matter, thereby realizing a common life literary-stage dramatic drama. The logic of thought was paramount, the virtues and greatness as aesthetic concepts in the work of art took general forms, aiming at catharsis also through individual emotional tensions, or social groups in drama. Above all, drama through the theater serves as a prerequisite for promoting thought and speech. Considering drama as a moral institution and theater, as its artistic log, through
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