Василев

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.

In December of this year, our cultural community celebrates the 60th anniversary of one of the most widely read Bulgarian writers in our country and abroad - Orlin Vasilev. The vivid examples of civic and literary valor in "The White Path", "The Ring of Fire 1923", "The Dead Guilty", "The Wild Forest", "The Outlaw's Mother Doesn't Feed", in the dramas "Anxiety", "Love" and "Happiness" and in his other books, as well as in the hundreds of publications in the periodical press, once again presented before us the multifaceted creative figure of Orlin Vasilev. For thirty-seven years, he communicated with readers, conveyed to them his restless thoughts and observations, and excited them with his experiences, which reflected a great wealth of themes, images and conflicts. The young Orlin Vasilev entered the literary field boldly and confidently. The first two publications appeared in Strashimir's newspaper "Vedrina". In issue 37 of June 29, 1927, the articles "On Prostitution" signed Orlin Vassilev and "Letter from a Woman", signed under another pseudonym Plama Petrova, were printed. Shortly thereafter, in issue 45, "Poklon" was published - a small prose excerpt, an expression of love for the Soviet country. His first printed stories "Service" and "In Sofia" appeared in the collection "Days and Nights", along with several stories and poems by Emil Koralov, Todor Harmandzhiev, Lachezar Stanchev and Ivan Velev. This was the literary environment in which the young writer initially found himself. In the following year, 1929, his name was already frequently found on the pages of the newspapers "Duma", "Globus" and "Vestnik na zhenata". Almost every issue of "Duma" published his works - stories, essays and articles, signed with various pseudonyms - Edin Ognjar, Ivan Kalev, Tesnyak, Rog, Yan or without a signature. This was also the year of his first book - the novel "The White Path" was published. It was followed by the collection of stories "Simple Hearts" (1930). The two books were met with extraordinary interest and caused a sharp controversy in the party literary press, which lasted for more than a year. At the same time, the young writer increased the circle of newspapers and magazines in which he collaborated. These were "Chervena Tribune", "Misl i Volya", "Bulgarska Misl", "Savremennik", "Sudba", "Rodina", "Krgosvet", "Detska radost", "Svetulka" and others. In 1929, in volume 2 of the magazine "Svetulka" the first short story for children "The Deceived Winter" was published, and in volume 6 and 7 the fairy tale "The Horse Camberata".