Faust, National Theatre of Albania

Review by Abel Brahusha

Between philosophy, morality and human nature
 
In Faust, the pursuit of truth takes center stage—not merely as a personal journey but as a profound inquiry into where truth resides in our fractured, modern world. Davide Iodice’s adaptation of Goethe’s iconic work, presented by the National Theatre of Albania in collaboration with Sardegna Teatro, reinvents Faust to reflect the Albanian experience and the complexities of contemporary society. This production invites us to question the nature of truth itself: Is it a constant, an absolute we can trust, or has it transformed into a malleable concept shaped by social media, personal bias, and institutional agendas?
 
The play opens with a mirror reflecting light across the audience, symbolizing the pursuit of enlightenment. Yet, as he reaches out for knowledge, the light evades him – a reflection of our own world, where the sheer volume of information clouds rather than clarifies. Faust, played by Hervin Çuli, embodies the modern seeker, weary of the boundaries of conventional wisdom yet driven to push beyond. His existential crisis, rooted in questions about the limits of human understanding, resonates with an era where public trust in traditional sources is often shaky, and people turn to “alternative truths” on social platforms.

Faust’s pact with Mephistopheles is a symbolic act of defiance, representing a break from institutionalized knowledge and a plunge into subjective reality. In the play, Mephistopheles (Ema Andrea) is more than a tempter; she is the voice of skepticism, casting doubt on any universal notion of truth. Her character reflects the distrust in contemporary society towards the “truths” propagated by media and government. As she questions Faust’s assumptions, Mephistopheles reminds us that truth is often a product of power: who owns it, who controls it, and who has the means to disseminate it.

Faust’s journey through a world filled with doors and symbolic mirrors serves as a reminder that truth is elusive, fragmented, and often shaped by who holds the power to present it. Faust’s pact with Mephistopheles reflects an individual’s defiance against institutionalized knowledge and a quest to define truth beyond accepted norms. The play becomes a mirror of our time, exploring whether truth remains bound to tradition, resides in individual pursuits, or is ultimately shaped by collective consensus.

Yet, Iodice’s adaptation pushes further by grounding Faust within Albanian society, making the play a cultural as well as philosophical exploration. The figure of God (Indrit Çobani) is portrayed with a striking departure from traditional depictions, appearing in worn, mismatched clothes with symbols of Albanian identity. This image suggests a democratization of divinity, implying that the truth is not only within institutions but accessible to the humble and the ordinary. In a time when authority is questioned, this portrayal connects deeply with audiences, reminding us that perhaps truth exists just as much in common experience as in the official narratives.
 
The visual elements are particularly striking in Andrea’s dance in a bird mask, symbolizing the theme of free will as it pertains to the play’s main. The aviary placed in Faust’s room acts as a powerful metaphor for his entrapment, with Mephistopheles engaging it during monologues to underscore her role as the puppeteer in Faust’s choices. This symbol, along with the presence of trees and dim lighting, creates an atmosphere of both allure and mystery, inviting the audience into Faust’s moral limbo.
 
This adaptation’s symbolic elements—such as the recurring motif of mirrors and light—draw us into the theme of enlightenment and disillusionment. Faust’s ambition to transcend his limits echoes the modern drive to “know more,” yet his story warns of the potential emptiness of endless pursuit. His assistant, Wagner (Gert Ferra), represents conventional academia, clinging to the belief in structured knowledge, while Faust embodies the increasingly prevalent scepticism towards traditional sources. Wagner’s presence raises the question of whether truth is better preserved within the established frameworks of academia or if it must evolve beyond them.
 
Through the tragic arc of Margarita (Niada Saliasi), the play delves into the personal impact of truth’s elusiveness. Margarita’s intense love for Faust and her downfall in a world of blurred morals and shifting values reminds us of the consequences when individuals place blind faith in another’s vision of truth. Her journey reflects how the search for truth can devastate when it becomes wrapped in identity and devotion, especially in an era where ideals can shift rapidly, leaving individuals lost in their wake.
 
By situating Faust within a distinctly Albanian context, Iodice infuses the narrative with local relevance, asking: What does truth mean in Albania today? In a country with a complex political history and a young democracy, where social media now plays a significant role in shaping public opinion, this question resonates deeply. It touches on the broader dilemma of whether truth in a changing society is bound to institutional power, individual beliefs, or collective agreement. Albania’s own path toward transparency and accountability, shaped by its relationship to media and institutional narratives, reflects the broader European and global questions about the authority and accessibility of truth.
 
Ultimately, Faust does not provide a simple answer but encourages us to confront our assumptions about knowledge and power. Is truth best preserved within the confines of tradition, like Wagner believes, or in Faust’s daring, if reckless, challenge of the status quo? The play presents truth as something elusive, not a destination but an ongoing, perhaps unattainable, quest.
 
In the end, while Faust dazzles with its visuals and captures moments of philosophical inquiry, it risks sacrificing depth for style. Iodice’s production poses important questions about free will and the search for meaning but leaves these themes obscured by its own excess. This Faust, torn between visual ambition and narrative coherence, reflects the fractured nature of truth itself – a fleeting ideal, glimpsed, but never fully grasped.

Written by: Fabio Pisano (based on texts by Goethe, Spies, and Marlowe) Directed by: Davide Iodice Actors: Hervin Çuli, Ema Andrea, Gert Ferra, Besmir Bitraku, Indrit Çobani, Lulzim Zeqja, Genti Deçka, Krist Lleshi, Niada Saliasi, Ina Gjonçi Dramaturg: Fabio Pisano Light Designer: Loïc François Hamelin Music: Lino Cannavacciuolo Set designers: Davide Iodice & Laedia Hajdari Costume designer: laedia Hajdari

The performance was part of the program of the Kosovo/Albania Theatre Showcase, which took place in Tirana, the end of October 2024.