Articles, Interviews, Essays

 

THE MEMORY OF THE RAVEN. Texts on theatre, drama and politics
Publishing House "Zhanet 45", Plovdiv, 2005, ISBN 954 491241 X

Contents

INTRODUCTION by Nikola Vandov
ABOUT REALISM
PAGES ON FRIEDRICH DUERRENMATT
THE THEATRE OF ERWIN PISCATOR
I COULD THINK ABOUT NOTHING ELSE BUT THE THEATRE
IN THE EMBRACE OF FEAR
THE JOVIAL OLD ACTORS
WHEN I WRITE, I THINK ABOUT THE ACTOR
NIRVANA 1983
BRECHT PEAK
I CONNECT THE NOTION OF REALISM WITH THE NOTION OF TRUTH
THE WINDOW
THE CARPENTER'S IMPLEMENTS IN THE THEORY OF THEATRE
"ODYSSEUS" IN THE SATIRE THEATRE
FOR A PLAY I NEED THREE THINGS
MUSIC FROM SHATROVETS 1989
HISTORY AND SOLID GEOMETRY
LYUBEN GROISS
BLACK ON WHITE
THE WRITER WITH A TELESCOPE
TSVETANA MANEVA
IF WE DISTINGUISH TRUTH FROM MYTH REGARDING LEVSKI
IF WE COULD HAGGLE WITH DEATH
EASTER WINE 1993
THE STRANGE GENTLENESS OF THE "GENTLE REVOLUTION"
THROUGH THE RINGS OF THE DECADES
A DEBUT THAT NEVER TOOK PLACE
THEATRICAL ARITHMETIC (German only)
ABOUT THE LIMITS OF AESOP'S LANGUAGE
ABOUT RAVENS
PROSE POSES NO SURPRISES, THE WRITTEN WORD IS WRITTEN ONCE AND FOR ALL
LINE (HEINER MUELLER)
TALENTED SPORTSMEN, LOUSY POLITICIANS
SPEECH AT THE VIENNA UNIVERSITY (German only)
THE THINGS GROISS WOULDN'T DO
LEON IN THE WINTER
STREET SIGNS
THE DRAMA IN THE 90S
ODYSSEUS 1997
I CANNOT SING IN A CHOIR
MARGARIT
LEON DANIEL'S GAMES
BERTOLT BRECHT – FRAGMENTS FORM AFTER A JUBILEE
AN ASTRONOMIC POINT (150 WORDS ON VAZOV)
A CENTENARY DISTICH
THE COMPOSER KIRIL DONCHEV
A FEW WORDS ABOUT STANKO
THE DIRECTOR MASALITINOV
SOUNDS OF A VIOLIN
THEATRE AND GEOGRAPHY
THE SCENOGRAPHER GEORGY NOZHAROV
CULTURES OUT OF LEVEL
WORDS – GERMAN-BULGARIAN MISUNDERSTANDINGS
GUARD BRIDGE - A BRIDGE TO BE GUARDED
TODAY EVEN THE SCREAM CAN BE REMAIN UNHEARD
WITHOUT PATHOS ABOUT NIHILISM
RADICHKOV IN BONN
MY MEETINGS WITH FRIEDRICH DUERRENMATT (German only)
THE STAGE IS ALLERGIC TO STUPIDITY
NIRVANA 2005

 

Of course, not many are the writers who would succumb to the sweet temptation of having their scattered texts collect in a volume due to the fact that one has to undergo the interrogation of contemporary times that make one have to answer for each word written in a lengthy period, in this case a period of over 40 years. The author has to overcome shyness, nervousness, has not to have served any ideological constructs… And has to demonstrate how in an undignified era one can retain dignity and can also breathe sense into senseless debates.
"The Memory Of The Raven" is a versatile book in regards to the field of interest of its author – literature, theatre, the art of translation, it has sympathies towards German culture, it speaks a great deal about Brecht, Duerrenmatt, Muller. The book reminds us of memorable moments in Bulgarian theatrical history, with love it tells stories of productions and actors, it enjoys praising, it enjoys admiring. The lack of egotism is impressive, the generosity with which a playwright writes about his colleagues – underlining that the matters of the spirit cannot be tackled individually and that nobody can survive outside of a unit, outside of dialogue, outside of tradition on which to lean upon.
And, finally, "The Memory Of The Raven" is in some ways an autobiography and autobiographies of personalities such as Konstantin Iliev are highly intriguing. They are a form of answer to the question what legacy will be left behind by "those to whom time has bestowed whether the fortune or misfortune, but definitely the unique opportunity, to have inhabited not some imagined but, however paradoxical to the etymology of the concept that may be, a "real Utopia".

Amelia Licheva, On The Words Of An Inhabitant Of A Real Utopia, a review in the "Kultura" weekly, 31.03.2006

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