dramaturgy

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.

The article seeks to outline the basic constructive principles in the dramaturgy of Stanislav Stratiev. Even in a superficial overview of his comedies, it is clear that they are not built according to the usual dramaturgical scheme, in which the action is driven by the opposition between a reasoned desire of one of the characters and the obstacles to fulfilling that desire posed by circumstances or by any other character. In most cases, Stratiev's initial situation introduces some sharp provocation to the every lifestyle, which provokes a series of actions following not the course of the dramaturgical action, but the accidental changes in the situation. It is this series of actions, realized in a series of poorly connected episodes in a single plot thread that also carries the main ideological message of the play, presenting various aspects of the main, developed in it, social problem. The theatrical model used by Stratiev is, by this sign, strongly reminiscent of the model introduced in the 16th century by the Italian commedia dell'arte. The article analyzes the four main features of this theatrical model. First of all, the plot framework in which the spectacle develops is considered. In the case of commedia dell'arte, this function is performed by the so-called canovaccio – a finding description of a series of episodes with a detailed presentation of the actors and their actions. This plot frame arranges a series of poorly connected episodes called lazzi. Their content highlights various absurdities and contradictions in a living subject more to ideological dogmas than to normal human logic. In these episodes, typical figures of public life take part, whose characters and actions define them more as masks than as living people. The only exception is only the couple in love, who are present in each of Stratiev's plays. Those in love, striving for normal human dreams and values, just as they do in the world, usually fall victim to the circumstances in which they are forced to live. And since a spectacle built on a typized plot and typized character-masks must always be fresh and topical, commedia dell'arte uses improvisation, in which typized acts are presented using topicals of the context in which the spectacle takes place, events, and lines. In the case of Stanislav Stratiev, this is the biggest problem facing the current productions of his plays, because, for the most part, they contain the reals, slogans, and problems of socialist society, which are not relevant today. At the same time, the main problems that Stratiev's comedies pose have not lost their relevance. And it's a challenge that's increasingly finding a solution.

The article analyzes one of the key ideas of Prof. Atanas Natev in his attempt to create a systematic theory of drama, namely his theory of "intermission" as a basic constructive principle for building dramatic action and the specific way in which drama affects the perceiver. The theory of "intermission" is compared with the ideas of the emerging at the same time literary discipline "narratology", the work of the structuralist trend in literary studies. This is necessary because narratology has given other explanations to some of the key ideas in the theory of "intermission". The main question that is asked in the article is whether in the seemingly devoid of the figure of the mediator dramatic composition, such does not exist, albeit only implicitly. Because drama, as well as the other two genres - lyric and epic -, need the fictional figure of the subject, which turns the amorphous structure of the "flow of life" into "history", and then into a carefully composed plot for the viewer to recreate in his mind during the performance, as the theory of the "intermission" states.

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.