Beyond Words: The Symbolic Choreography of Vrasje ne vjeshte (Murder in Autumn)

by Tomorr Kokona

I hadn’t seen my university friend Mehmet Xhelili in 30 years, so walking into Teatri Kombëtar Eksperimental’s Turbina for the premiere of Vrasje në vjeshtë was an emotional flood. From the first moment Mehmet appeared on stage, his impeccable interpretation and emotional depth were breathtaking. Every gesture evoked memories of his extraordinary talent. It felt like discovering him anew, yet instantly familiar. But now with an enormous weight of experience, presence, mastery and maturity that filled the stage with authority.

The evening was more than a theatre night - it was a personal homecoming. Art Turbina was buzzing as Tirana’s art scene turned out for the play’s premiere, held on 26 March 2025, with follow-up shows through April. The audience was spellbound from the dimmed lights onward. After the final moments, silence held the hall before thunderous applause. I left feeling inspired, proud, and deeply moved.

Under the artistic vision of Gjergj Prevazi, Teatri Kombëtar Eksperimental “Kujtim Spahivogli” has taken bold strides. The theatre has embraced daring, experimental works - physical theatre, contemporary dance and avant-garde productions with national and international creators. Vrasje në vjeshtë is a prime example: a risky, compelling piece that resonated deeply with Tirana audiences, proving the success of Prevazi’s approach in commissioning and collaborating with diverse artists.

The play is based on the novel Njeriu i netëvë të vjeshtës (The Man of the Autumn Nights) by Gjergj Vlashi, adapted for the stage by director and dramatist Stefan Çapaliku. Set in 1943, after Italy’s surrender, it explores the German army’s evacuation order in Durrës and the refusal of Marian Shkoza - a dockworker who hides, borrows identities and ultimately surrenders, only to be executed. The adaptation remains faithful to the novel’s tension and ambiguity, yet expands it into a rich sensory and philosophical experience.

At the heart of the play are three harmonized performances. Mehmet Xhelili as Marian Shkoza brings a psychological depth that shifts from fear to defiance and resignation with haunting clarity. Rafael Hoxhaj, in the role of a soldier or foil, delivers a measured, tension-packed presence through beautifully crafted choreographic movements which, combined with his monologues, create a surreal portrayal of duality and human tribulation during wartime. Xhoana Karaj provides the emotional core, physicality grounding Marian’s turmoil in raw humanity. Their chemistry is seamless - sharing the stage yet maintaining distinct emotional lines and movements.

Behind the scenes, a stellar creative team brings the play to life: Stefan Çapaliku (director and dramatist) brings not only dramaturgical finesse but a bold reimagining of stage narrative. Known for his intellectual and poetic approaches to theatre, Çapaliku avoids conventional realism and instead explores layered meaning through symbolism, minimal dialogue and powerful silences. Rather than presenting clear cause and effect, Çapaliku invites us into a fragmented inner world. His vision of Marian is as much about the philosophical collapse of identity under totalitarian fear as it is about physical survival. He directs with the language of poetry: metaphors in motion, ellipses instead of answers. The audience is asked to fill in the gaps and that is where the impact lies.

Mehmet Xhelili, Rafael Hoxhaj and Xhoana Karaj in Vrasje në vjeshtë

In Vrasje në vjeshtë, Çapaliku merges text, movement and image to depict a man losing himself in the shadows of a crumbling world. His direction invites the audience to become active interpreters of the story - reading into gestures, atmospheres and gaps between words.

Rafael Marinaj has composed a haunting, tension-filled score that underscores psychological tension without overwhelming the narrative. Sadik Spahija provides minimalist but effective scenography - crates, ropes and fractured architectural forms evoke a city under siege and a psyche in collapse. Sofi Kara designs costumes that blend period accuracy with subtle emotional resonance. Lighting designers and movement coaches craft a visual and emotional balance, shifting between stark interrogation and dreamlike transitions.

Technically, the production shines. Lighting alternates between oppressive shadows cutting thought corners and coffin-like props and open emotional space. Set elements are spare but symbolic. What truly elevates the production is its choreography of gesture and body language. Each movement speaks: a turned back suggests defiance, a slow step becomes hesitation, a dropped hand conveys despair.

Bodies speak what dialogue cannot. There are sequences of total silence where the characters’ breath, weight and orientation communicate more than pages of text could. Movement is used symbolically as Marian moves through the abandoned homes, his gait changes, mimicking the lives he momentarily inhabits. These choices turn the stage into a living landscape of memory, fear and longing.

Audience reaction was immediate and visceral. Gasps, tears and unanimous silence spoke volumes. The play not only stirred me personally, reconnecting with Mehmet, echoing history and showcasing theatre’s transformative power. It also confirmed the production’s emotional and artistic strength.

Vrasje në vjeshtë marks a pivotal moment for Albanian theatre. With psychological depth, physical storytelling and world-class execution, it proves Albania can stand confidently on the international stage. These kinds of ambitious, high-quality creations boost national pride and cultural reputation.

Attending this premiere was both an artistic triumph and a deeply personal milestone. Reuniting with Mehmet Xhelili after 30 years and experiencing his transcendent performance alongside the full creative ensemble was unforgettable. Under Prevazi’s daring leadership and Çapaliku’s poetic innovation, this production confirms that Albanian theatre has not only arrived - it should be celebrated and shared internationally.