процес

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.

The first to encounter his name in print were the readers of the magazine "Savremennost" in the autumn of 1906. The magazine was rather nondescript. Its loud name was probably chosen to remind us that the editors St. Donchev and G. Savchev, whom no one knows today, had the "new literary trends" at heart, i.e., symbolism. At that time, in the minds of some intelligentsia, susceptible to literary fashion, decadence was a sign of modernity. But in the cycle "Dedication" by the new poet Dimcho Debelyanov, there is no decadent "modernity" to be seen. The poems are not shrouded in a symbolic fog, they are clear, traditional". "The inspirations come from elsewhere - from the poet whose personality fills the young man's heart with adoration - Pencho Slaveykov. At that time, Dimcho Debelyanov, born in 1887, was nineteen years old. He had just graduated from the first Sofia male gymnasium. In the gymnasium, he earned a reputation as a warm-hearted and talented young man. Many loved him - for his bribing immediacy, although he was also inclined to solitude, for his directness, for the pure fervor with which he spoke and declaimed. One of his speeches on the feast of Cyril and Methodius was long remembered. He made an even deeper impression with his recitation in "Slavic Discourse" of Vazov's poem "Come and See Us". This time he even gained the attention of the monarch Prince Ferdinand himself, who had come to the solemn student matinee. And no wonder. Dimcho was not at all embarrassed by Coburg. Turning to him, he boldly threw the angry denunciations of the people's poet into his eyes:

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?