Bulgarian dramaturgy

The article is dedicated to the theme of hope in two monodramas by Boyan Papazov –Nadezhda The Blind [literally ‘The Blind Hope’] and Mad, Cross-eyed and Greedy. United by their common genre convention, theme and character type, they enfold, in a symbolic framework, two periods in Bulgarian history - the era of the communist regime and the period of the so-called political transformation (known in Bulgaria as the transition). The analysis presented in the article aims to discover the theological and anthropological foundations of Papazov's concepts of the sources of human hope in a world of destroyed axiological norms.

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.