новата

Our dramatic authors in a number of their works reflected the new man in the context of modern life, of the construction of socialism. Our dramaturgy on a modern theme contained a number of socio-psychological and socio-critical elements. Its main feature was the denial of the then capitalist reality, the affirmation of the new that was coming. These works outlined the rapid development of socialist realism from the initial period after September 9 to the present day.

The latest trends of modernism gravitate towards an ever more decisive liberation from the forms of the concrete-historical, the objective and the real. They give way to the tendency towards abstract art, which deprives them of the living colours of artistic diversity, pushes them towards the embodiment of "abstracted essences", outside their individual form of manifestation and existence. Combined with a self-serving technicalism, abstractionism ignores the "sensuous-objective and aesthetic reality" and condemns the human image in art to disintegration. It is known how wide the terrain has been conquered by the abstractionists in modern painting. From the canvases of many contemporary artists, figurativeness is defiantly banished and the artist's independent interest in his technical, optical and color problems is proclaimed, through which he establishes contact with the spirit of the times and its scientificity. The artist skips the figurative, the intermediary link between the idea and the embodiment, in order to reach directly to the hidden substance, to the abstract meaning. And then, under the incomprehensible tangles, under the chaotic color spots, lines and geometric figures, we read designations such as: "Vertical", "Strive", "Expression", "Passion". This is a leap straight into the kingdom of abstract essences, of the "thinkable" - without the old-fashioned mediation of objects. One of the clever theorists and practitioners of this tendency in literature, Hermann Broch, writes: In all isms, ultimately, a common process is evident: the empirical and accidental object is replaced by something whose ultimate roots reach back to the logical and to the Platonic idea. And since Plato in his project for the ideal state did not allocate an enviable place to artists, since they deal with the crude, empirical, sensible forms of reality, with the "shadows" of things, moving away from them from the higher and ideal essence, from the world of ideas, now his modern followers have decided to save the honor of art by freeing it from its objective language and elevating it to the rank of a medium that speaks directly to the mysterious world of essences, of ideas. But since art can hardly get rid of its "double" - the objective, the individual and the concrete, otherwise it will cease to be art - "the functions of the double" are now fundamentally rethought. The image loses its relative independence as a reflection of objective things and becomes solely. . a symbol of the subjective. It falls into the clutches of the free play of associations, of the whims of subjectivism, of a deforming architectonics. The objective-sensible receives a new tonality, since the reality of the object becomes a mere substitute for the abstract and a performer of ornamental functions. Therefore, the object can be raped and deformed to infinity" (H. Broch). In the last decade, abstractionism has increased its ambitions, spreading its tentacles to literature as well. It wants to provide a theoretical and cognitive basis for its experiments, conducting them under the sign of a newest, ultra-contemporary artistic knowledge". Its strangest creations are pretentiously defined as a cipher of the Modern Soul", as an adequate expression of modern man. Because this man represents one. "... a non-existent, formless, intangible, but suffering being" (Claude Mauriac).

Ernesto, a large industrialist or something like that, puts a record on his new American gramophone, an ideal automaton with a complex mechanism. When Ernesto presses the button on the membrane, instead of obediently landing on the edge of the record, it rises into the air, makes a kind of paralytic movement and with a dry metallic click returns to its original position. Like all ideal mechanisms, the automaton at a certain point refuses to serve its purpose. A little later, Ernesto is in his luxury car with his wife and two children. He is a rich, happy man who has fulfilled himself. But somewhere at the bottom of his soul, a dissatisfaction has settled. This dissatisfaction tempts him to throw himself from a high cliff into the sea with his luxury car and his entire family. His not-so-good knowledge of the terrain and a hesitation that lasted a tenth of a second save him. Instead of in the waves, the car stops at a beautiful ravine, from which Ernesto, his contented wife and his joyful sons contemplate the calm element of the ocean. Alberto Moravia's new book of short stories "The Automaton" is built on moments in which the main characters realize their dissatisfaction, their inferiority, their automatic existence, their inability to live and enjoy what they have achieved. Men or women, young or old, they are faced with their deeper essence, with their true reality, which they have not known, with which they cannot cope. These are usually moments of imbalance, as in the plot of the story given above, moments of automatic and unconscious life, not controlled by the will.

From 1927, when the prominent Bulgarian literary scholar Boyan Penev virtually completed his voluminous "History of New Bulgarian Literature" in the form of university lectures, later systematized and published, to the publication of the second volume of the academic history of Bulgarian literature, four decades passed. Even before the printing of B. Penev's History, many issues of Bulgarian Renaissance literature had been studied, but it was the first and most complete scientific work that comprehensively reflected the literary development of the Bulgarian people from the appearance of "Slavonic-Bulgarian History" to the inspired poetry of Hristo Botev. The long period after its publication was filled with a number of new studies, some of which bear the stamp of original, in-depth scientific research. They shed light on individual aspects of the Bulgarian literary revival, the work of writers and men of letters of varying importance, as well as more specific problems related to the development of the periodical press, school work, pedagogical literature, folklore or the main literary genres, methods and trends. Even before September 9, 1944, very significant studies of a more general nature appeared, which further developed some of Dimitar Blagoev's ideas about the nature of the Bulgarian Revival, subjected certain bourgeois-idealist views and concepts to fundamental criticism, and, in accordance with the Marxist methodology of their authors, revealed in New Light the literary and social work of a number of writers.

Belinsky wrote that the past helps us to better understand the present and suggests the future to us. By absorbing national trends in the artistic heritage and reflecting new phenomena in reality, our literature in the first years after September 9th paved the way for the later artistic peaks of our contemporary artistic creativity. Naturally, it exhibited a number of historical features - it bore the stamp of a comprehensive upsurge, breathed with the pathos of emotional display, resorted to a poster depiction of mass enthusiasm. It also had significant conquests. Works of art from that time still excite us today with their civic power, which has become a fruitful tradition in our literature. They conquer us with their active, effective, revolutionary humanism. The literature of those years and in the field of artistic mastery is an example that can be imitated in the days of our time.