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The innovators and seekers, the Argonauts of the march for new art, go against the tide. They teach their contemporaries the most difficult habit - to break traditional notions, to get used to the unknown and unusual. Ehrenburg congratulated the 80-year-old Picasso on his youth. The surest sign of an artist's youth are the disputes that flare up around his work. Innovation does not like the fanfare of unanimous recognition, it does not tolerate the incense of jubilee eulogies. Its ambition is different: to divide minds, to clash them and thus make new and unsuspected truths phosphoresce. Brecht is among the great phenomena of contemporary art, which are very contested and against which aesthetic inertia has long persisted. His value is affirmed through the resistance of canonical opinions and traditional tastes. Like other of his contemporaries such as Mayakovsky and Picasso, he caused aesthetic disturbances throughout his life due to his firm intention to renew the language of the centuries-old stage art, to satisfy the needs of a scientific age and a dialectical way of thinking. When Brecht's theater visited Moscow or Paris, it did not generate universal approval and recognition with its performances. The audience was far more unanimous and enthusiastic, applauding Vico Torriani's variety evenings or the numbers of the Viennese revue on ice. After Brecht, however, something else remained: the restlessness, the productive anxiety that the theater was being cleared of junk. The fools stirred, the routineists united. After Brecht, the debates began.

With his creative work, Lyudmil Stoyanov fills more than six decades of the history of new Bulgarian literature - he published his first poems at the age of 19 in 1905 in the magazine "Artist", and even today, in 1968, he has not interrupted his writing work. Some will say: the long life of a writer inevitably covers several periods in the development of a literature. The difference with Lyudmil Stoyanov, however, is that he is not only present in these periods, but also most actively participates in them as a citizen and artist. The historian of Bulgarian literature in the 20th century will seriously struggle with which period to place him: Lyudmil Stoyanov cannot be absent from the development of our literature in the first decade of the century and the eve of the wars; in the period after the First World War he is one of the most active participants in literary life, and in the 30s he develops his enormous anti-fascist activity; The defeat of monarcho-fascism and capitalism brought him to his literary post, and for the third decade now he has been taking the most active part in building our socialist culture.