To respect the enduring principles of dramatic action

In recent years, we have witnessed a positive phenomenon in our literature. This is the active participation of a number of fiction writers and poets in the construction of our socialist-realist dramaturgy. Dimitar Dimov wrote "Women with a Past" and "Who is to blame", Iliya Volen - "Wolf Times", Ivan Peychev - "Every Autumn Evening", Valeri Petrov - When the Roses Dance", Ivan Radoev - "The Small World" and "Justinian Coin", Emil Manov - "Conscience", G. Dzhagarov - The Doors are Closing", Kl. Tsachev - "Of Much Love" and "The Last of the Squad", Boyan Balabanov - Before the Storm", N. Fol - "Black Earth", T. Genov - Monument", M. Grubeshlieva and N. Lukanov - "On the Small Pier", P. Slavinsky and B. Danovski - the comedy "Secrets", M. Velichkov - The Long Tooth, Vl. Polyanov - "Sunny Paths", V. Neshkov "The Secret of the Doomed". Some completely unknown until recently literary workers, such as Nikola Rusev, Ivan Shopov, Ivan Ostrikov, K. Strandzhev, Leo Konforti, D. Bochev, also have good performances. Our famous playwrights K. Zidarov, G. Karaslavov, M. Petkanova, L. Strelkov - Blockade", "Ivan Shishman", "Stone in the Marsh", "Unforgettable Days" also show great activity. Without putting an equal sign in the plays of the mentioned authors, we must emphasize above all the hopeful revival. The thematic range is expanding, some of the playwrights, although still timidly, are turning to important problems of life, in a number of works they attract the noble anxiety for the fate of the contemporary, the figurative poetic system of thinking. Our dramaturgy is now freed from occasional authors and is becoming the work of the writer. We cannot but respect the new searches, the striving for independence, for diversity of stage techniques, for originality. Unfortunately, these new tendencies are quite contradictory. Next to the new, the fresh, the truly beautiful, we find alongside the manifestations of a misunderstood tradition, of noisy rhetoric and heroism and elements of mannerism, even of posturing, an ambition for innovation, which does not always harmonize with creative possibilities; and finally, a completely unjustified negligence towards the enduring laws of drama. I think that the development of our national socialist-realist theatre suffers both from conservatism of stage form, from traditionalism, and from mannerism.