On conflict and composition in the plays of Kamen Zidarov and Orlin Vassilev

It is unlikely that a significant artistic problem could be exhausted only by the development of the main conflict. In a dramatic work, as in life, a major event gives rise to a multitude of different incidents and conflicts, each of which, to one degree or another, depends on the central event. And indeed, the development of the action is significantly enriched if various additional conflicts are included in the central drama. But when some of the auxiliary dramas with their sub-themes overshadow, even for a short time, the main theme, then disharmony sets in in the play, because the principle of unity of action is violated. In the plays of the classics, each character, even a minor one, has his own drama, which is at the same time firmly connected with the main theme. The different moments of the development of the action, the many plot threads and the diverse dramatic characters in a true dramatic work are united by the single theme that the playwright wants to defend. According to Belinsky, unity of action should not be understood as a technological process at all, it means unity of ideological content: "Simplicity, uncomplicatedness and unity of action, in the sense of unity of ideological content, should be one of the main conditions of drama: in it everything should be directed towards one goal, towards one direction... The unification of all plot threads, clashes and vicissitudes by one main idea gives harmony and clarity to the composition - regardless of whether it is open or closed, whether it consists of many scenes and actions or only a few acts. And that is why often an insufficiently clarified dramatic theme is the cause of many compositional imperfections. Unity of ideological content leads to a harmonious and harmonious composition, where each individual part, in the lemina.