Those who knew Marie Logoreci, especially those quite related with to her play
on the stage feel a proud pain now that she is no longer with us. As time passes
by, her figure as an actress increases, and the more her greatest roles will be
remembered.
I was appointed director of the first National Theatre, after the World War II .
The theatre started its work with amateur actors but there was much love around
for art and the stage. Some of them actors had had previous experiences.
In that time Marie appeared.
- You should get with the theatre, I said her.
- But I like to sing, she answered.
- All right, you will sing from time to time. Behije Ēela and Liza Vorfi joined
us here, and they used to sing for the National Radio.
-I will think it over, she said.
So Marie joined our ensamble. The directors, Pandi Stillu and Sokrat Mio, who
tested her, had both good words for her. The stage was not new to Marie. She was
given the leading part in the play, acting next to Naim Frashėri. They were both
a great success. Marie made a great job with that role and it was confirmed as a
skillfull actress.
As far as my knowledge goes she did not get back to singing again.
Later she had roles, and was distinguishly acting. I have in mind her acting
Fatime, the magician - woman in the play "Halili and Hajrie". Her acting with
Naim Frashėri was really something rare. Her laughter and that of actor Loro
Kovaci's, their behaviour during the play was outraging even to the actors in
the studio, so much more to the audience.
Marie had distinguished parts in Shakespeare's plays, in acting Spanish dramas
etc.
I had Marie in mind all the time I was writing the play "Our land". I foresaw
her with the main role of the play, the Loke's part. The director Pandi Stillu
accepted my opinion and Marie decided to take it, with great delight. Apart from
the rehearsals she was doing at the studio, she worked also at home, late at
night.
Some days later she told me :
- You are driving me insane. I can't pull off Loke from my mind. I try to avoid
it, but I can't... I have come to fully embrace it.
The premiere of that play marked a great event. Loke, a loving, honest and
honour-seeking mother, delighted the audience...
How painful and noble was her cry as she was told about the murdered son (in the
play) reciting : "Nobody dares to weep in this house of mine tonight!". But the
spectators were moved.
The line : "Thanks, o Murrash, for all you have done for our honour, for your
mother, your sister and brothers, and for our farmers, your friends!", recited
on stage, are deeply rooted in my mind. It's true what they say to me : "You
Kolė wrote down a Loke, Marie acted one":
That character entered the golden achievements of our theatre as one of the
summits of stage acting.
Marie was a distinguished actress of great potential also in Loni Papa's play
"The Lass of the mountains" performing the lass' mother, the blind old Prenda.
The blind old woman speaks and shocks you. Marie knew the spirit of the people
very well. But the lass' mother in not Loke; Marie knew how to be not
repetitious and knew how to distinguish one character from the other. This part
is also an highlander mother, but it is a different one.
A part also to be remembered is mother Gjela in the play "The great flood". She
spoke with her gestures, even when not reciting. She talked whithout speaking.
She amazed us even with her silent performance. As she entered the stage, at the
beginning of the play, with her stick, dressed up in that national folk costume,
typical of the mountains of Kurbin, above that hillside, she resembled an woman
coming from the distant, long time ago Illiria, stooping so at midstage as a
monument.
A great performance did Marie while acting the characters of the world
playwrights such as Shakespeare, Schiller, Lorca and so on.
Marie left behind a whole gallery of roles and dramatic personae, often
performed in a genuine acting. Her acting is a great school for our young
actors, they will be highly inspired by her way performance.
