самобитност

The problem of literary ties, of the general cultural contact between the Slavic peoples at the V International Congress of Slavists was devoted to a number of reports and scientific communications. These influences were considered on a pan-Slavic or national level, with a view to a specific writer or work. Regularities were indicated, literary phenomena and features were studied. A huge amount of factual material was presented, which will make it possible to clarify controversial and indisputable concepts. Some of the reports, regardless of their concreteness in posing and developing individual questions, point to analogies and a more creative look into the essence and specificity of the literary process.

Often in our arguments about contemporary Bulgarian drama we tend to fall into extremes. In moments of good mood we only praise it, in bad moods we pour reproach after reproach. The gesture of excessive tolerance in such cases suddenly turns into caustic and witty malice. However, if we abandon the paradoxes and one-sided analogies with the work of today's greatest European playwrights, we cannot help but acknowledge several important facts. First, after September 9, 1944, an internal explosion took place in Bulgarian drama. It came along the line of ideas, and this is already certain evidence of significant changes in the very nature of drama. Since drama is an active history of society, it could not remain aloof from the problems that were posed by the September 9th people's revolution. Even more. It found itself at the center of the socio-political struggles that decided the fate and future of the Bulgarian people. In this sense, it also appeared as a continuation of the basic spirit of our native dramaturgy - of its social tone and commitment. And yet, here one more circumstance must be taken into account. While in poetry, fiction, painting, even in the theater we had bright examples of ideological communist art - Smirnensky, Vaptsarov, Karaslavov, Zhendov, Danovski - in dramaturgy the peaks of social pathos after Vazov were marked by the art of Yavorov at the end of the ten years and that of St. L. Kostov in the thirties. That is, by the creativity that did not set as its goal the uncompromising and effective struggle against the bourgeois world, more precisely, that did not fight in the name of the most progressive ideal of the era. The only more categorical example in this regard is Vaptsarov's play "The Ninth Wave", but it, unlike his innovative communist poems, conscientiously follows the spiritual structure of the classical Ibsen line in modern dramaturgy.

Isn't it too inappropriate to open this question again? Haven't we been forced to "originality" for years, which has left us behind in a number of areas of science and life? A number of people have prejudices about the topic itself. But anyone who has followed literary life in recent years will not deny that it is becoming necessary, often dominating the press, criticism, and conversations. These conversations have even acquired the specific hue of self-disclosure and self-knowledge, so complacency and skepticism become inappropriate. This is no longer a dialogue, as it is now fashionable to say, but a kind of public monologism, since we are touching on very intimate matters. Among the many reasons for the maturation of these problems in our literary development in recent years, I will point out the following: The tendencies of socialist development of constant rapprochement of the peoples in the USSR and the gradual erasure of national differences are formulated in the Program of the CPSU. Development in this direction is a complex and lengthy process. Nations, as Marxism teaches, are permanent historical communities, subject to constant change. Their true rapprochement, as well as the elimination of differences between them, must go through a comprehensive socialist flowering of national cultures, through the disclosure of their entire vital and creative potential. ..... The elimination of national differences - says the Program of the CPSU - is a significantly longer process than the elimination of class boundaries... The Party does not allow either ignoring or exaggerating national peculiarities." On the subject of the national question, Lenin warned that "an unconditional requirement of Marxist theory in the consideration of any social question is its formulation within certain historical frameworks, and then... taking into account the specific peculiarities that distinguish a given country from others within the limits of a historical epoch."