Проблемът за Родното и Чуждото в българския театър от Освобождението до Първата световна война. Свобода за Родното да усвоява Чуждото
The Domestic-Foreign Problem in Bulgarian Theatre between the Liberation and World War One. Freedom for Domestic to adopt Foreign

Summary/Abstract: The paper deals with the Domestic and Foreign in Bulgarian theatre between the Liberation and World War One, as placed in historical and cultural contexts. The national Bulgarian theatre has been an integral part of constituting and expanding the political, institutional and cultural arrangement of the state, where the process of Own-Other, of Domestic-Foreign is in a state of permanent instability and pre-positioning. It was a difficult period of transition from an amateurish to a professional status of theatre, as well as of a modern organisation unthinkable without the director. That period was also transitional in terms of expanding Bulgaria’s repertoire as well as of growth of Bulgarian drama with the latter’s efforts to adopt foreign and modern experience. With the three most prominent representatives of Bulgarian drama, A. Strashimirov, P. Y. Todorov and P. Yavorov, the clash between Domestic and Foreign was reduced, interiorised and complicated as Own/Other. These authors had, to a certain extent, self-confidence, bravery and in no small measure the capacity to adopt the Other, to which theywere wide open and strip the Foreign of its frightening power. Expectedly, their dramatic works had only a qualified success on stage at least at the time of their earliest stagings. Fear, oppression, impossibility to bear freedom, tolerance and hope too became an interior problem. Stable mindsets and mythologems were unsettled, views broadened along with growing dissatisfaction; a feeling of general insecurity and uncertainty grew, generating, in its turn, inner fears.

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