Естетики и стилове в българския театър след 1989 година
AESTHETIC CONCEPTS AND STYLES IN THE BULGARIAN THEATER AFTER 1989

Summary/Abstract: The article presents the structural changes in the theater after 1998 through the prism of drama, cleared of any genre qualifications and presenting itself in two acts: In ‘act one’ (up to 1998) the key word is ‘free- dom’ while the situation is charged with the energy of the falling apart of t he communist state and the will for radical change . In ‘act two’ (from 1989 up to the present) the key word is ‘stability’ and that is why the situ- ation is dominated by pragmatism and the will for a stable functioning of the institutions . The first act can be defined as revolutionary-existen- tial because the dominant tendency in Bulgarian theater (as well as in society) is for a revolutionary change of the existing then theater and existential, since the revolutionary zeal is dominated by the effort for all points of view and choices to be embodied in a new theatrical expression . As typical for the period up to 1989 are examined the processes of the barg- ing in of popular culture, the staging authors “for the first time in Bulgaria”, the rereading of classics (including Bulgarian), doing away with the authors’ cult and marginalization of the psychological theater which, together with Stanislavski, symbolized socialism . Analyzed also are the most interesting phenomena, aesthetics and directors’ styles during this period which present the changes in the theatrical language and the different behavior strategies in the field of theater: the poetic ascetic of the Theatrical Workshop „Sfumato”, Stefan Moskov’s and Alexander Morfov’s carnival aesthetics, Lilia Abadzhieva’s plastic-body quasisurrealism, Galin Stoev’s postmodern resistance of authorities, Marius Kurkinski’s neo-naive admonitory theater and Yavor Gardev’s game with cultural codes . The second act is defined as hedonistic because its leading tendency is to strive for pleasure, comfort, aim for comfort and pleasure. Society is dominated by media, computers and consumer moods . All phenomena, aesthetics and individual styles that have emerged until 1998 continue to develop and gained the statute of authoritative, institutionalized theatrical activities . But as most typical for the decade the author indicates the lack of alternative groping, of proposals for new type of theater structure in the new cultural context .

• Details
• Contents