Положителният герой в театъра на социалистическия реализъм
The Positive Hero of Socialist-Realist Drama

Summary/Abstract: The issue of the hero was central to the dramatic theory and theatre criticism under communism, being for the most part, a political and ideological rather than an art matter. The then radical social change in models and values called for a new hero and that was the reason why the description and the presence of the hero in a play or production were the keynote of the defining and the depicting of the essence of Socialist Realism and the communist dramatic theory. The image of this new hero was also a touchstone of a kind for the degree to which the methods of Socialist Realism have been mastered, for the ‘right’ ideological position assumed by the playwright, director and the lead performer playing the role of the hero. Those were the reasons for the communist reviewers to place the heroes both onstage and in the plays under greatest scrutiny. The new heroes were communists, partisans, party leaders and functionaries, workers, party secretaries as well as the people, both individually and collectively.

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