Николай Кирилов

The subject of this article is one of the less known plays by Stefan Gechev - "The Fiance". The structure and the semantic potential of this play are understood as a realization of the Gechev"s conception concerning "poetic substance" which is like a equation and can have many and even opposite solutions. This specific irrational tendency in the dramatic text is analyzed in the dialog, in the Dramatis personae relations, in the diegetic space and in the fictional time. But the composition of "The Fiance" is realized in the principles of symmetry and Mise-en-abyme and the conventional topics like Truth, Fictional invention, Beauty, Existence are examined in Gechev"s work too. As one of most original ideas in the play is realized the parallelism between the characters and the elementary particles in physics and in this way the play becomes peculiar and interesting matter of scientific examination.

This article is dedicated to the dramaturgy of one forgetfulness Bulgarian playwright from the years of the so-called Socialism when he builds his own existential poetics, different from the official ones. The meaning of human life is understood by Velichkov as balancing between two categories – the mystery of Intimacy and the wisdom of Anxiety. His style has been seen as a language of silence and anger as a language of Harold Pinter and David Campton. His style has been seen as a language of Poetry itself, as a language of Theatre as a Ritual of the Love.

The article discusses two of the plays of the classical Bulgarian writer Dimitar Dimov: "Women with a Past" (1959) and "The Guilty One" (1961). The female rudiment is seen as a basis for the structure and style of the dialog, also for ‘deheroization’ of male characters. In the sense of Balzac's allegory of marriage as a Labyrinth, the relations of the characters are understood. In the context of socialist society, during which the plays were written, the small-talk in the plays is interpreted as a mask for the dangerous topics. In the two plays of Dimov a parallel, along with the paradox-style of O. Wilde plays, but and with A. Chekhov’s poetics is found. Dimov's works are understood as conquered by the image of the Femininity, as a strong and at the same time weak and charming rudiment.

The article is focused on one of the few plays for children by the Bulgarian poet and playwright Stefan Tsanev. On the basis of some poetical specifics in the text of “The most wonderful Wonder” is formulated a hypothesis about the ‘strategy’ of this work as an actualization of phoneticism of the language. In this sense the form of the play is analyzed as a demonstration of the archaic and even the paleolinguistic aspect of the language i.e. of its asemanticity. In this way are interpreted the names of the characters, which are only letters, and the poetic figures with homonymy, paronymy, onomatopoeia etc. The form of the dramatic work is analyzed in relation to the allegorical narrative of a starving primitive tribe which literally degrades to the apes. The one of the main characters – the chief and shaman called U is understood as an ambivalent figure of the speech, as a figure of the both political demagoguery and mystical poetic speech.

The article is dedicated to the first and most significant novel in Bulgarian literature with a plot from the Spanish Civil War (1936–1939) – the novel "Condemned Souls" (1945) by Dimitar Dimov. In the context of criticism of the literary work of the author (the so-called „Tabacco“case 1951–1953) and its quasi-socialist poetics, the tendency towards historical incoherence is analyzed. Dimov’s novel has a large number of small historical and logical inaccuracies, but one error is indicated as essential: the narrative of the "Condemned Souls" takes place in 1936 and one of the main characters is a Jesuit, but the historical truth is that between 1932 and 1938 on the territory of Spain „The Society of Jesus“ is banned by the republican Constitution (1931) and edicts of the prime minister Manuel Azaña (1932); these statutory provisions are not repealed until 1938 when the rights of the Order are restored by Francisco Franco. In this way, Dimov’s novel is interpreted as a ‘torn creation’ between fiction and the historical truth.