Drama in Kosova has developed alongside theatre, but its history is also the story of a body of literature that has sought new ways of addressing identity, history, society, and the human condition.
With the development of professional theatre after the Second World War, Albanian-language drama in Kosova began to establish its own distinct space. Initially, the repertoire drew on works by Albanian and foreign authors, while gradually, Kosovan playwrights began creating texts that spoke directly from and about their own reality.
One of the early figures of the stage was Katarina Josipi, an actress belonging to the first generation of professional Albanian theatre in Kosova. She worked at the Provincial People’s Theatre in Prishtina and became one of the symbolic figures of this period. In her honour, the “Katarina Josipi” Competition for Original Albanian Drama continues to support the creation of new dramatic works.
From Traditional Drama to Modernism
During the 1960s, 1970s, and 1980s, Kosovan drama developed further alongside modern Albanian literature. Azem Shkreli, Anton Pashku, Teki Dervishi, Ramiz Kelmendi, and Ekrem Basha were among the names who contributed to the development of a distinct dramatic tradition in Kosova. In their works, drama was not always a linear narrative. It increasingly employed symbolism, metaphor, irony, and absurdism to explore reality. History, power, identity, fear, human relationships, and the individual’s confrontation with society became important themes.
Anton Pashku, in particular, introduced a new and more experimental language into Albanian literature. His dramaturgy moved away from traditional narrative structures, creating situations in which symbolism and subtext were as significant as dialogue.
Teki Dervishi was another important voice. His drama is often associated with history, memory, absurdity, and the relationship between the individual and power. Through this approach, Kosovan drama began to address reality even when it could not do so directly.
Drama in the 1990s
The 1990s brought profound changes to the cultural life of Kosova. The exclusion of Albanian artists from public institutions created a situation in which theatre and drama moved into alternative spaces. Teatri Dodona became one of the important centres of this cultural life. Drama continued to be written and performed, even under difficult circumstances. During this period, theatre was not merely an artistic space. It became a means of preserving language and culture, as well as maintaining social communication.
Post-War Kosova and the New Drama
After 1999, Kosovan drama entered a new phase. The experiences of war and the post-war period became important elements of dramatic writing, while new themes also emerged: migration, isolation, transition, corruption, politics, European identity, and relations between communities. This generation includes figures such as Ekrem Kryeziu and Haqif Mulliqi — playwrights, directors, and critics who have contributed for decades to the
development of drama and the education of younger generations of artists.
One of the most recognised voices in contemporary Kosovan playwriting is Jeton Neziraj. His works frequently employ humour, irony, and absurdism to address the political and social realities of Kosovo and contemporary Europe. Through his work and that of a new generation of writers, Kosovan drama has increasingly moved beyond the boundaries of the local stage. Works by Kosovan playwrights have been translated, published, and staged across Europe and beyond.
A Dramaturgy That Continues to Evolve
Kosovan drama does not have a single style. It has been shaped by different experiences and generations. From Katarina Josipi and the first generation of professional theatre, to Anton Pashku and Teki Dervishi, and onwards to Ekrem Kryeziu and Haqif Mulliqi, Jeton Neziraj, and emerging authors, drama in Kosova has evolved from traditional forms towards modern, experimental, and contemporary approaches.
It has given voice to things that could often not be said directly: history, identity, power, war, loss, hope, and change. And this is precisely where its significance lies: Kosovan drama has not merely been a mirror of its time. It has often been a way of understanding it.