творческия

The conversations with Kamen Zidarov about the creative process spanned five meetings, the first on March 20, 1960, and the last on April 9, 2015, at his home on 35 Vasil Kolari Street. An alert, creative person, very cheerful, infectious with sparkling wit, revealed his inner wealth to me. Kamen Zidarov talks about everything with amazing ease. The flow of speech is colorful, dotted with wit. He can talk almost without pauses for an entire hour. During the conversations, there is no external tension or effort. Only at the end of the conversation do the slightly stiff movements of his hands betray his fatigue. He achieves a natural liveliness, without completely disappearing. In such moments of fatigue, Zidarov becomes extremely funny. He can entertain guests, jump from topic to topic, tell anecdotes, laugh contagiously, and participate in all kinds of conversations, except perhaps about the creative process... And this is It seems to be one of his forms of rest. Zidarov's great discipline and love of order were evident at all stages of the survey. From the very beginning, he stated that the work would take us four or at most five meetings. The nature of the matter that would occupy us is peculiarly lengthy, and I naturally doubted that the allotted time would be sufficient. But I very soon realized how unfounded Kamen's concerns were. Zidarov grasps the questions immediately and with great conscientiousness erases them. He struggles to remember all the interesting details that relate to the production of his dramas, but he never gets bogged down in unnecessary things, does not deviate in the wrong direction. His memory is amazingly clear and accurate. The playwright quickly and very concisely clarifies the essence of the problem, dwells on the most important and interesting, and then imperceptibly, without prefaces, moves on to a new group of questions. Especially at those places in the conversation, when the story came to life under the imitative tall of Zidarov.

Old Bulgarian literature began its development eleven centuries before our era and therefore differs sharply from modern literary creation. The most obvious indicator of the difference is the predominant religious character of medieval literary works. However, it would be far from the truth to claim that this character alone is the mark that separates them from new Bulgarian literature, mainly from that created in the second half of the 19th century to the present day, although it is inherent in both the content and the form of medieval art. Behind it stand peculiar artistic norms, a specific creative vision, which for modern man is very unusual. On this basis, the principled, problematic characterization of medieval artists who created historically conditioned, historically timely and historically valuable art should be built.

The poetic legacy of Pencho Slaveykov is a fruitful topic for the study of the creative process. To clarify the psychic functions of Slaveykov's poetic personality in view of the artistic text, letters, documents, memories, etc. - this is one of the main problems facing our literary critics. These functions determine the main psychic units of his creative system, they clarify the psychomotorics of the poet, his creative psychogram. The explanation of Slaveykov's poetic work cannot be achieved only within the framework of the most general findings and with the means of a terminology, in whose basic linguistic structures-definitions in most cases there is not enough scientific content. The poet's creative system, explained in a number of studies and articles, needs, in my opinion, a revision.

The creative development of an author consists in searching for and gradually revealing what is personally his. Along the way of this search, he will naturally come into contact with what has already been created and will take from it his own. Dimcho Debelyanov appeared in our literature in the first years of our century, when the Vazov tradition was gradually being displaced by the modern literary trends of the time. Debelyanov quickly oriented himself towards them, of course, after paying tribute to the tradition.

The science of artistic thinking (the creative process) has recently been increasingly insistently dealing with the issues of aesthetic impact, aesthetic experiences, aesthetic pleasure - in an aspect in which they have not been considered so far. What is it about?