Summary
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.
Ариадна и Лабиринта. Хипотези около женското начало в двете „салонни пиеси“ на Димитър Димов
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KeywordsSummaryThe 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.