книги

Brecht's penetration into the individual socialist countries has its own history. First came the interest in the writer as an innovator who broke with the canons and opened new horizons for revolutionary art. Then - at different intervals - followed the translations and the first productions of Brecht's plays. Today, the dividing wall of some dogmatic postulates that could not fit Brecht into the framework of socialist realism has been finally demolished. The experience of the original playwright is being studied and summarized. From the phase of guesses, he passes into the phase of research, which aims to acquaint us with all the values ​​of contemporary world literature. Over the past two or three years, in-depth studies on the principles of Brecht's Creativity have appeared in the Soviet Union, along with reviews of new performances of Brecht's works in Soviet theaters. A few months ago, readers received the first comprehensive monograph dedicated to Brecht. Its author is Bernhard Reich, a German emigrant to Moscow since 1926. Reich's book, voluminous and documented, accompanied by photographic material from various productions of Brecht's plays, is distinguished by several advantages. It is an attempt at solid research and at the same time a personal memory and personal assessment of Brecht's work. Its author was among the young Brecht's entourage in Munich after the First World War. He observed his first directorial performances, and retained personal impressions of the characteristics of Brecht's individuality and method of work. Reich, however, was not tempted by the temptation to endure all his work in a subjective and memoiristic plan. He tried to study and interpret Brecht's theatrical aesthetics comprehensively, to understand both its theoretical positions and its stage realization. He did not * B. Reich Teatralnoe - Brecht, essay on creativity, ed. 1960. Society, Moscow, 124 was satisfied only with the analyses of individual works, and he united his observations in a special section on the theatrical mission of the innovative writer. Thus, the analytical exposition did not prevent the personal accent, the researcher's own voice, from sounding there too.

At the beginning of this century, the famous physicist Hautermans discovered that nuclear explosions are the source of the great solar energy. This is a brilliant insight that later gave rise to unprecedented results in the development of modern sciences. They give reason to many people to call the time in which we live - the atomic age. TOR Hautermans returns in his memories to his youth, when he reached the conclusion of his several years of research and reflections. And he tells of that day of joy from the scientific discovery, in which the imagination quickly draws new perspectives and scientific programs for work, as if bathed in the sunshine, giving rise to new hopes and the will to penetrate the depths of the secrets of nature. "But that same evening," he continues, "I went out for a walk with a beautiful girl. When it got dark and the stars, in all their splendor, began to appear one after another, my companion exclaimed: "How beautifully they shine, don't they?" I puffed out my chest and said importantly: "Since yesterday I know why they are glowing." But it immediately became clear to me that my statement did not move her at all. It was possible that she simply did not believe me. But, it seems to me that at that moment she did not feel the slightest interest in any problems.

In the minds of the Bulgarian reader, the idea of ​​contemporary Swedish literature is almost exhausted by the works of August Strindberg and Selma Lagerlöf, who are known to the relatively older generation in our country. In recent years, the names of several more authors, representatives of different periods and trends in Swedish literature, have also been added to the two classic masters, whose individual works have been shown very limitedly, mostly with short stories and novellas. But Swedish literature as a whole, with its problems and tasks, with its main directions and tendencies, with its new names and works, still stands as undiscovered land not only for the ordinary reader, but also for our literary science.