Bulgarian Feature Cinema 1950-2010

, .
-,
,
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,

ISBN 978-954-8594-41-7
ISBN 978-954-8594-35-6
-
:

, 2013

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19501965.............................................................................................130
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1968 ...................................................................................................................144
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12.01.1968: ..........................................................................146
1.02.1968: ............147
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01.03.1968: ..................................................................................149
23.03.1968: ...................................................................................................149
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26.04.1968: .................................................................................151
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6.09.1968: ...156
18.10.1968: ..........................................156
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8.11.1968: .........................................................................................160
27.11.1968: ................................................................................162
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6.12.1968: ................................................................................................163
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19671968.............................................................................................167
70- :
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19691977.............................................................................................192
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70-: ..................................................209
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19741988 ............................................................................................215
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80-: ............................239
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19882010.............................................................................................251
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'96........................................264
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'2000: .................................................284
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19892010.............................................................................................301
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'2002: ..............................................318
, ...........................................322
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Bulgarian Cinema from Kalin the Eagle
to Mission London..................................................................................................344
Chapter I. First Identity Crisis: Establishment of Socialist
Realism in Bulgarian Cinema . ..................................................................................346
Chapter II. Second Identity Crisis: Totalitarism and
the Modern Iidividuals Drama on Screen...............................................................348
Chapter III. Third Identity Crisis: Bugarian Cinema
in the Globalization Era...............................................................................................350
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227Holloway, Ronald. Bulgaria: The Cinema of Poetics. In: Post New Wave Cinema in the Soviet
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343
Bulgarian Cinema from

Kalin the Eagle to
Mission London
Summary
This book addresses some aspects of the development of Bulgarian cinema
from the end of World War II until the globalization era. The text is based on
research projects carried out by the author at the Institute of Art Studies BAS,
from 1991 to 2011.
Different aspects of the role played by Bulgarian film in identity construction were discussed as early as the totalitarian period by film studies authors
such as Ivailo Znepolski, Elena Mihailovska and Nedelcho Milev. In the years
of transition, this discussion was continued by Alexander Yanakiev, Violeta
Petrova, Genoveva Dimitrova, Petya Alexandrova and others.
Yet this text is the first attempt for a cultural historical analysis of the developments in Bulgarian cinema, based on the hypothesis that during the post-war
period, film production in Bulgaria was marked by three identity crises caused
by the dynamics of socio-historical processes.
The first crisis, which shaped the filmmaking process for more than a decade, began in the 1950s with the establishment of socialist realism as an official
artistic style in Bulgarian totalitarian art. The second crisis is connected with
the events of 1968 and the transformation of the screen into a space of protest.
The third crisis began in 1989, with the end of the politically imposed isolation
and the opening of Bulgarian society and film production to the European and
world cultural space.
The text is built chronologically and consists of three parts which correspond to the periodization of the crises. Analysis is focused on case studies
which best illustrate the developments put forward by the main hypothesis.
This approach was chosen so as to avoid ideological clichs of the totalitarian
past in the interpretation of facts and works and, at the same time, it aims at
entering the big European debate on cultural identity.
Cinema has a well-defined ability to promote concepts of community
and belonging, and the screen an inherent characteristic to create identities.
The cinematographic process constructs sociological landscapes into which
film narratives are situated. On the other hand, the development of cinema as
an art industry is directly connected with the economic and social processes.
Consequently, its evolution in terms of problematics, aesthetics and communication depends on the state of society.
The goal of this research is to outline and analyse the historical develop-
344
Bulgarian Cinema from Kalin the Eagle to Mission London. Summary
ment of Bulgarian cinema from the beginning of the 1950s until present time,
in terms of the ways in which it addresses and interprets identity problems
on ideological, thematic and stylistic levels. The premieres of the two films
quoted in the title of this book, Kalin the Eagle (1950) and Mission London (2010), set the boundaries of the sixty-year-long period during which the
dynamics of this development is traced.
The central argument of the research is that, following the social dynamics, Bulgarian film development from the second half of the 20th century until today is
marked by three identity crises. The first crisis, which takes place in the 1950s, results
from the establishment of socialism and socialist realism as an aesthetic system. The second crisis, in the 1970s, reflects the general crisis in ideologies, and the third crisis, from
the 1990s until present time, is caused by the process of globalization.
It should be noted that the concept of crisis is not used in exclusively
negative sense. Rather, the developments in Bulgarian cinema are analysed
in their ambivalence: as a painful destruction of familiar structures of selfidentification and, at the same time, as a period of purification, a crucial step
towards new possibilities and courses. The process which began after the end
of World War II, can actually be seen as a movement towards the unification
of Europe, and as an advance to the far-reaching globalization process. This
provides an entirely novel perspective on the role of Bulgarian cinema in the
construction of cultural identity at the beginning of the new millennium.
The first identity crisis in Bulgarian society began immediately after the end
of World War II and was connected with the forcible establishment of the new
social order of Soviet-type totalitarian socialism. As a result of this crisis, Bulgarian film was turned into an object of social engineering. The main mission of the
post-war screen in Bulgaria, flickering in the closed world of totalitarianism,
was to make the audience accept and identify with totalitarian socialism. This
development is addressed in the first chapter of the research, First Identity Crisis. The Establishment of Socialist Realism in Bulgarian Cinema.
The second identity crisis was part of the general crisis in ideologies which
began in the mid 1960s and reached its culmination in 1968 with the student protests in the West and the Prague Spring in the East. At that time, this particular
period was regarded as the most dramatic one after the end of World War II: it
was a period which saw the rejection of old ideologies, the sweeping student protests, the hippie and anti-war movements, and the attempt for a socialism with a
human face. 1968 was also the year when the Club of Rome gathered in order to
discuss global problems for the first time, and the term globalization was thus used
officially for the very first time in history. Analysed from this standpoint, the crisis of the 1960s can also be perceived as a beginning of the process for European
unification and an advance towards global integration.
In terms of historical development, the 1970s were perhaps the most significant and productive period of Bulgarian filmmaking so far. Films from that
period however outlined a process which would become complete only after
345
Bulgarian Cinema from Kalin the Eagle to Mission London
the beginning of the new century.

The 1980s, on their part, are important inasmuch as they represented a
bridge between a transitional decade of outstanding achievements and the major changes on the threshold between two centuries.
The third identity crisis was caused by the globalization process. Cinema,
as part of audiovisual culture, is probably the art most affected by globalization. What is more, cinema is an instrument for cultural globalization.
Hence, an important part of the analysis exploring the relationship between the third identity crisis and the development of Bulgarian cinema is given
to the term non-national film a concept which developed in connection with the
co-production convention that nowadays dominates the filmmaking on the Old
Continent. In this respect, the text is focused on identity problems in film from
the standpoint of overcoming the cultural isolation.
Chapter I.
First Identity Crisis:
Establishment of Socialist Realism in Bulgarian Cinema
The Cinematography Law (1948) turned Bulgarian cinema into a state
art an instrument for spreading propaganda and providing legitimacy
of the communist ideology. In the transition to state film production, the
Soviet victors supervised the process and supported local structures through
consultants who watched closely the making of the first films, through coproductions with the USSR, through the admission of Bulgarian students to
the VGIK (Russian State University of Cinematography), through participation
in the design of the National Film Centre whose construction began in 1949.
Bulgarian cinema was subordinated to two main principles: 1) state monopoly over production and distribution and 2) the adoption of socialist realism
as the sole method of representation. Cultural engineers did not call it a style,
but proclaimed it to be a method of interpretation of social processes. Socialist
realism was () an artistic method which represents an aesthetic expression
of the socialist-conscious conception of the world, conditioned by the age of
struggle for the establishment of socialist society () The explorations of cinematographic art within socialist realism, its explicit theoretical basis have been
defined and are defined by Lenins notion of party-mindedness and artistic
truth () by Lenins principle on the clarity of ideas and accessibility of art.
In this study, the production process of the new Bulgarian state film is
traced in time on the basis of six case studies: Kalin the Eagle, Alarm,
History Lesson, Under the Yoke and Heroes of Shipka. The first two
films introduce the main tendencies in socialist realism cinema:
1) mythologization of the past
2) interpretation of history as a class struggle
346
First Identity Crisis. Establishment of Socialist Realism in Bulgarian Cinema. Summary
3) pathos, consistent with ideological directives

In addition, Alarm introduced one of the central themes in Bulgarian socialist cinema, namely the theme of the communist anti-fascist resistance movement. The other three films outlined different aspects of Soviet interference in
the artistic process, which bound Bulgarian identity with the imperial interests
of the USSR and the party class approach. Thus, at the beginning of the 1950s,
within Bulgarian cinema emerged the official film with its manipulative function. Yet it will be incorrect to label all films made before 1990 as being official.
This term applies only to works that were champions of the official ideology,
that were structured round the image of the so-called positive hero and were
based on specific normative aesthetics (pseudo lifelikeness).
A key variety of the official film is the historical-revolutionary film. It was
created by party ideologists who proclaimed it to be a genre. In fact, it was a
thematic sphere which included different genres. Works that belong to this
group could be regarded as an expanded film epic of the Communists feats.
Anti-fascist films and films from the so-called brigade cycle (Dawn Over the
Homeland, Item One, People of Dimitrovgrad) are analysed as being
part of this epic.
The discrepancy between the goals announced by socialism and its reality gave rise to an identity crisis in Bulgarian society. It also affected cinematographers who were genuine supporters of communist ideology: Binka
Zhelyazkova, Hristo Ganev, Valeri Petrov, Borislav Sharaliev and others. The
moderation of political pressure in 1956 gave them the illusion of artistic freedom. In this context Binka Zhelyazkova (Life Flows Slowly By) and Rangel
Vulchanov (On a Small Island) put the beginning to the non-conformist film
in Bulgaria. I used the term nonconformist film for the first time in 1998 in my
project Bulgarian Cinema from World War II until the 1970s. Establishment
of Socialist Realism in Bulgarian Cinema. (Archive collection at the Institute
of Art Studies BAS.)
I presented my theses on the clash between conformism and nonconformism in cinema for the first time in English in 1999, during a lecture at the VI
Conference of Bulgarian and American scholars in Blagoevgrad. It was published as Models In Bulgarian Cinema Aesthetic and Social Functions in
Bulgarian Studies at the Dawn of the 21st Century: A Bulgarian American
Perspective, Sofia, 2000, pp. 160-171.
In my opinion, nonconformist films have three varieties:
1) Films that break the aesthetic dogmas of socialist realism but do not
provoke ideological attacks.
2) Films that challenge the communist ideology with an honest picture of
the totalitarian reality but refuse a stylistic provocation.
3) Films that reject socialist realism as an ideology as well as a style.
My claim is that Zhelyazkova was the first in the Socialist Camp to use
the screen to address the discrepancy between ideology and reality. Communist cultural engineers, on their part, perceived cinema as an instrument for the
347
multiplication of ideologemes. The conflict was inevitable in 1958, just before

the premiere of Life Flows Slowly By, the Central Committee of the Bulgarian Communist Party issued a decree which denounced the authors. The film
came out thirty-one years later, in 1988, without influencing Bulgarian cinema
development.
This particular decree gave rise to a paradoxical process it turned into dissidents, unexpectedly even for themselves, authors who criticised reality from a
Marxist standpoint, or who were in search of individual style without rejecting
the system. I define such authors as paradoxical dissidents. Their films address
the identity question in a paradoxical manner through ambivalent messages
sent to an audience taught to communicate through ambivalent codes.
Thus, as a result of the first identity crisis, Bulgarian cinema began promoting images of ambivalent identity which conveyed contradictory messages hidden behind a seeming conformity to the ideological norms.
Chapter II.
Second Identity Crisis: Totatitarism and the Modern
Iidividuals Drama on Screen
The Prague Spring was a catalyst to the second identity crisis in Bulgarian
society and to an artistic liberation in cinema. Therefore I call the period from
the mid 1960s until the mid 1980s the Prague Spring Period, and the generation of directors who made their debut during that period (Metodi Andonov,
Eduard Zachariev, Lyudmil Kirkov, Gueorgui Stoyanov, Vladislav Ikonomov,
Irina Aktasheva, Hristo Piskov), The 1968 Generation.
These directors changed the cinematic expression of Bulgarian film, developing a clear nonconformist tendency. Through their films Bulgarian cinema
became part of the world cinematographic process, which I believe to be their
greatest achievement.
The influence of the European New Wave was felt from the mid 1960s.
Films such as Monday Morning, Crack-Up, The She-Wolf, Knight
Without Armor and Sidetrack paved the way for the counter-tendency of
socialist realism which later, in the 1970s, would be developed as a strong critical social trend by Lyudmil Kirkov, Eduard Zachariev, Georgi Djulgerov, Ivan
Terziev, Borislav Sharaliev and Vladislav Ikonomov.
Rangel Vulchanov with The Investigating Magistrate and the Forest,
Borislav Sharaliev with All is Love and Lyudmil Kirkov with Short Sun
broke the taboo on the representation of social inequality under Socialism.
In this way The 1968 Generation joined the so-called Cinema of Moral Concern
which was initiated by the Polish directors.
A special place in the critical social trend was occupied by Metodi Andonovs film The White Room, screenplay by Bogomil Raynov. The character of
348
Second Identity Crisis. Totatitarism and the Modern Iidividuals Drama on Screen. Summary
the erudite, smart and searching communist Alexandrov was the first serious
attempt in our socialist cinema to rehabilitate the intellectual as a positive figure.
The filmmaking debutant Metodi Andonov was highly influenced by the New
Wave as well, and his film is still regarded as a hallmark of Bulgarian cinema.
Yet today The White Room gives rise to a number of questions. Why
was a screenplay, written by Bogomil Raynov, the cultural advisor to the Central Committee of the Bulgarian Communist Party, produced at that particular
time? What was the real purpose of the film to dramatically represent the lack
of artistic freedom, or was it rather to serve as a social safety valve?
Bogomil Raynov was the screenwriter of the spy series which included
the regular character Emil Boev and lasted from 1969 until 1985: Mister Nobody, There is Nothing Finer than Bad Weather, The Great Boredom, The
Blue Infinity, Requiem for a Tramp, Dying at the Worst, Typhoons with
Gentle Names and Day is not Obvious from the Morning. This series was a
mirror-image copy of the James Bond saga, the only difference being a change
in the characters names and nationalities, and a reversal of the opposition communist/Western world.
With television increasingly becoming the main source of entertainment,
socialist cinema was compelled to seek more effective communication. Eastern
European variations of popular western genres were produced, in compliance
with the communist ideology, throughout the Eastern Bloc the so-called easternization of these genres.
Contrary to that development, Rangel Vulchanov (The Sun and Shadow) and Binka Zhelyazkova (The Attached Baloon) marked the beginning
of the metaphoric narrative in Bulgarian cinema. Their films were immediately criticized in a party document because aesthetical experiments were considered dangerous. The Attached Baloon was taken off screen right after its
premiere. It was not until the 80s that it was allowed for socialist realism (...)
to include (...) associative implications of action and a mixture of chronological
orders, allegory, hyperbolism, internal monologue, and the so-called stream
of consciousness.321
In the meanwhile, Vulchanov made The Patent-Leather Shoes of the Unknown Soldier perhaps the most important attempt to analyze Bulgarian
identity through cinematic means. The problem of individual identity found its
most convincing interpretation in Metodi Andonovs The Goat Horn (1971)
where, with a mastery still unsurpassed to this day in Bulgarian filmmaking, the
historical plot served as a framework of the tragic incompatibility between the
search for identity and violence.
These two films, along with Measure For Measure by Georgi Djulgerov,
were authentic attempts to explore Bulgarian identity through cinematic
means. They were also the artistic alternative to the new surge of cultural engineering of the 1980s the official epic historical films which mythologized
321 ( ). : , 1968. . 402.
349
Bulgarian history (Khan Asparoukh, Constantine The Philosopher, The

Master of Boyana), or which legitimized the most shocking political act of
the regime, namely the forcible change of the names of the Bulgarian Muslims
(The Day of The Rulers, Boris I and Time of Violence).
Another alternative to the epic productions were the critical social films of
the 1980s, the best example of which was A Woman at Thirty-Three (taken off
screen and attacked in the media). During the 1980s, the critical social drama in
Bulgaria developed under the influence of the Soviet perestroika. The attitude of
the authorities towards the perestroika was contradictory and inconsistent. This
affected the cinema as well, as a hesitation to follow the Soviet model of glasnost,
or in other words, to explore themes which were considered taboo.
This insecurity led to a certain melodrama the three most important
films of the Bulgarian glasnost, Margarit and Margarita, 1952 Ivan and
Alexandra and I, The Countess were melodramas. The debut films of 1988
Pieces of Love by Ivan Tscherkelov, Running Dogs by Lyudmil Todorov
and Exitus by Krassimir Kroumov represented a new conception of the
world. Docho Bodzhakovs Thou who Art in Heaven examined properly,
for the first time in Bulgarian cinema, the problem of the relationship between
God and the individual.
Towards the end of 1988, after a thirty-year-long postponement, the films
Life Flows Slowly by, Homecoming (1971), Monday Morning and The
Prosecutor appeared on screen. They became a major event for the cinematic
society, but had no impact on the general public.
Despite the contradiction of the processes, I believe that the second identity
crisis marked the peak in the development of Bulgarian filmmaking so far. This
is the period during which our cinematography gained international prestige.
Chapter III.
Third Identity Crisis:
Bugarian Cinema in the Globalization Era
From the 1990s of the 20th century until present day, Bulgarian cinema
went through its third identity crisis. It was connected with the major social
changes at the end of the 1980s and the unification of Europe as part of the
globalization process.
The establishment of the identity crisis as the main theme in Bulgarian
filmmaking was a new stage in the relationship between the screen and social
reality. Bulgarian cinema reacted to the third identity crisis by developing two
narrative models. I have called the first model, which is connected to the reevaluation of the recent past, In search of the lost identity. The second model, a
reflexion towards the present, I have defined as In search of landmarks. These
models originated from the predominate narratives of the entire Eastern Euro-
350
SecondThird Identity Crisis. Bugarian Cinema in the Globalization Era. Summary
pean cinema and their unsuccessful variants set up a highly distorted critical
social trend.
In the 1990s, Bulgarian film production faced the challenge to re-evaluate
the aesthetic heritage of socialist realism. Unfortunately, this process of re-evaluation did not follow the line of artistic achievements already drawn by Binka
Zhelyazkova, Rangel Vulchanov, Georgi Djulgerov and Georgi Stoyanov. The
films about the forcible establishment of the communist regime such as I
Want America (1991), The Well (1991), Waste (1991), Vampires, Spooks
(1992), Canary Season (1993), Sulamith (1997) and After the End of the
World (1997), reversed the old formulas of Sots realism.
This might be due to the fact that the most fierce demolishers of Sots realism in Bulgarian cinema like Angel Wagenstein, Ivan Andonov and Kiran
Kolarov were directors who had worked hard in the past to create it. It is only
with Dzift (2009) and The Color of the Chameleon (2012) that an aesthetic
re-evaluation of these themes is achieved.
The third identity crisis in Bulgarian cinema also resulted from the collapse in production, or in other words, the end of state film production. After
1991, Bulgarian films were made by private film production companies which
complete for partial state funding. In this context, the middle generation of directors such as Andrey Slabakov, Ivaylo Hristov, Iglika Trifonova, Ilian Simeonov, Kostadin Bonev, Milena Andonova and Stanimir Trifonov, are given at
last a chance to make their film debuts. Krassimir Kroumov, Dimitar Petkov,
Petar Popzlatev, Ljudmil Todorov, Ivan Tcherkelov and Svetoslav Ovcharov
shoot their second films. This generation of directors understood the identity
crisis as an important catalyst for the development of Bulgarian cinema.
Yet the most significant factor in this development was Bulgarias joining the European Convention on Cinematographic Co-production, and consequently, the access that our filmmakers gained to Eurimages the European
Cinema Co-productions Support Fund. In this context the term European nonnational film became extremely important. It was created by EU bureaucrats
because of the role co-productions were expected to play in the formation of a
unified European cultural space. This term defines the model through what it
is not and does not give any information about its essence. In my opinion, the
term multinational is more accurate and appropriate.
Co-production, in terms of its production principles, influences the cinematic aesthetics and poses the problem of cultural identity. The key question that
Bulgarian cinematographers face today is whether they will manage to preserve
their Bulgarian identity in their films. The answer to this question depends on the
European vision for the preservation of national cultural identities.
An example of successful collaboration is the film Letter to America
(2000), a co-production between Bulgaria, the Netherlands and Hungary,
which I consider to be a turning point in Bulgarian cinema of the new century.
The director Iglika Triffonova shows us characters who search for their identity through folklore but at the same time, she understands national culture
351
as a treasure which has to be shared with the world. To her, going back to the
roots makes sense only if it helps the modern individual find his/her place in
the global world.
Bulgarian cinema is increasingly becoming a point of intersection between universal values and the Bulgarian conception of the world. Andrey
Slabakov with his films Wagner and Hindemith (both absurd comedies)
and Ivan Stanev with Moon Lake (an art film) give up national specificities
and, each in his own style, take the next steps towards greater universality in
Bulgarian cinema.
The youngest generation of film directors in Bulgaria come to light with
the film Mila from Mars (2004) by Zornitsa Sophia. Those who make their
debut in the next decade, like Kamen Kalev, the Chouchkov brothers, Tsvetodar
Markov, Dragomir Sholev, Ljubomir Mladenov, Kristina Grozeva, Dimitar Kotsev-Shosho, continue the trend set at the end of the 1980s by Ivan Cherkelov,
Ljudmil Todorov and Petar Popzlatev, namely to juxtapose pieces of life in a
non-linear narrative.
The films of young Bulgarian directors are not explanatory. They do not
comment they either simply observe, concentrating on everyday life, or
make genre films. Good examples of the latter are the films Mission London (2010) and Tilt (2011).
In addition, imitations of American film genres are produced such as
Forecast (2008) a hybrid between beach-party film and narrative surf film,
and HDSP (2010) whose two plot lines are like two separate films gangster
movie and High School Movie. In Bulgaria, Hollywood film types are loaded
with social involvement and authorial claims. The globalized media context
hinders some of the young Bulgarian directors to analyze the question of identity in depth. This causes the biggest problem of the new Bulgarian cinema
the lack of well-formed tendencies and a distinctive national style.
Yet, a certain recent stability in state funding, the emergence of independent films and a series of international awards give us hope that Bulgarian cinema will have its new global chance.
352
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357
358
85, 102, 103, 119, 249

317
317
164, 203, 204, 214, 279
337
180
54
, 246, 247, 258, 320, 321
162, 206, 318
328
59, 263, 264
211
288, 320
, 180
121
164, 210
130, 164
, 180
180
93
293, 294, 313
84, 85, 171
220, 222, 224
220, 222, 224
248, 263
178
L 328
246, 247, 320, 321
180
188
8, 129, 156, 157, 158, 159, 160, 163, 318
205, 261, 270, 283, 284, 285, 286, 287, 300, 326
, 256, 315
7, 85, 118, 119, 120
54
181, 183, 184
54
87
163, 184, 205, 206, 214, 262
123
202
171
80
292
237, 238
220, 222, 224, 230, 231, 232, 233,
234, 235, 236, 237, 238, 277
, 178
164, 199, 202, 203, 204, 214
265
85, 140
74, 246
213, 214, 217, 223, 243, 250, 257, 278, 303, 309, 317,
329, 354
129, 130, 141, 164, 309
318
123
7, 68, 76, 77, 78, 79, 81, 82, 221,
354, 355
8, 156, 197, 198, 240
171
178
- 162, 175
178
188
162, 175, 176, 249
203
, , 8, 277
316
67, 72
(1954) 87, 255, 289
(1994) 255
52
279, 280, 281, 282, 285
246
24 239
205
2001: 144
207, 331, 335, 336
19 87
220, 222, 224, 240
266
202
306
9, 201, 262, 326, 327, 328, 329, 330, 339, 340
87, 115, 147, 178
178
265, 266
114, 128
151
181, 183, 184, 209
147
123
33 204, 209, 210, 242, 243
316
154, 155, 250
246, 247, 260
52
232
163, 242, 244, 262, 264
, 188
172, 245
290
7, 85, 90, 95, 96, 97, 98, 99,
100, 101, 102, 103, 104, 110, 139, 173, 247
128
260
74, 139, 145, 170, 247, 318
74
329, 330
243
163, 262, 263, 264, 266,
287, 315
231
93
, 180
53, 108
160, 175
309, 310
... 127
17, 185, 189, 212, 221, 259, 318, 329, 353,
355
85, 171, 194, 285
359
296
17 136
172, 173
, 147
... 240
9, 324, 325
188
202
285, 298
299, 317, 337
149, 150, 160, 209
199, 316
256
256, 283, 286, 288, 289, 291, 292, 313
128
265
180
3, 12, 14, 16, 18, 20, 36, 37, 39, 40,
47, 369
221
210
142
240
153
7, 120, 121, 122, 123, 125, 129, 157
205
141, 205, 206, 207, 289, 299, 331
256
221
160, 188, 189, 190, 191, 214, 249, 279, 285
, 249
309, 310
296
85
220
180
7, 142, 143, 149, 160, 279
148, 199, 200, 201, 202, 203, 207,
326, 355
289
202
289
106, 211, 213,
214
299
54
54
1918 54
54
316, 319, 321
337
337, 339, 340, 342
120
13 205, 331
178
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242
316
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121
223
181, 184
222, 228, 229, 230, 232
360
... 240
202
299
134
59
3, 9, 12, 14, 16, 18, 20, 205, 305,
330, 331, 332, 333, 334, 335, 336, 339, 369
232, 334
148, 199, 203, 206, 214
309
188, 191, 214
, 120
240
256, 260, 315
147, 149, 153, 161

147
- 288, 292, 318, 320
- , 178
57, 191, 209, 249, 285
85, 90, 95, 104, 105, 106, 107,
109, 110, 119
231, 235, 264
87
86, 87
139, 162, 163, 170, 186, 318
141, 205, 289, 331
202
85, 171
130, 148, 199, 206
83, 85
258, 259, 260, 261, 326, 329
114
299
180
13- 175
, 180
- 161, 175,
176, 249
297
288, 296, 297, 298, 320
249
185
136, 160, 161
9, 295, 298, 299, 311, 312, 313,
314, 315, 316, 317, 318, 319
243
148, 242
84
147
337
80
129, 141, 318
277
147, 171
315
265
329
299
280, 285, 297, 306, 307, 308,
309, 310, 316
152, 172, 256, 258
246, 247
121
52, 66, 85
180
240
59
298, 318
8, 275, 276, 277, 279, 280, 283,
285, 286, 287, 297
205
85, 119
7, 52, 59, 61, 62, 63, 64, 65, 66, 67, 69, 70,
71, 72, 73, 74, 75, 77, 79, 80, 221, 355
299, 337, 338
321
164
7, 56, 90, 125, 126, 127, 128,
129, 130, 138, 139, 145, 148, 164, 170, 179, 247
296, 297, 298, 319, 321
172, 174, 181
146, 166
181, 182, 184, 185, 209, 214, 249, 355
163
163, 184, 206, 214,
285
7, 90, 103, 104, 134, 137, 138,
139, 141, 145, 190, 279, 318
240
265
324, 339, 341, 342
124, 138, 139, 163, 165, 166, 170, 172,
247, 318
163, 166, 221
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149
244
318
147
54
316, 317
319, 320, 321
299
162, 175
82
129, 141, 202
121
87
206
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188
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23
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210
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, 106, 134
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117
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114
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323
201
210
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316
187, 191
147, 148, 156, 198, 205, 318
54
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299, 316
181, 183, 184
320
A
After the End Of the World 351
All Is Love 348
A Woman At Thirty-Three 350
B
Boris I 350
C
Canary Season 351
Constantine The Philosopher 350
Crack-Up 348
D
Dawn Over the Homeland 347
Day Is Not Obvious From The Morning 349
Dying At The Worst 349
Dzift 351
E
Exitus 350
F
Forecast 352
H
HDSP 339, 340, 342, 352
Hindemith 352
Homecoming 350
I
Item One 347
I, The Countess 350
I Want America 351
K
Kalin the Eagle 9, 344, 345, 346
362
Khan Asparoukh 350

Knight Without Armor 348
L
Les quatre cents coups 114
Letter to America 18, 351, 355
Life Flows Slowly By 347, 348, 350
M
Margarit and Margarita 350
Measure For Measure 349
Mila from Mars 352
Mission London 9, 336, 344, 345, 352
Mister Nobody 349
Monday Morning 348, 350
Moon Lake 323, 352
O
On a Small Island 347
P
People of Dimitrovgrad 347
Pieces Of Love 350
R
Requiem For A Tramp 349
Running Dogs 350
S
Short Sun 348
Sidetrack 348
Sulamith 351
T
The Attached Baloon 349
The Blue Infinity 349
The Color of the Chameleon 351
The Day Of The Rulers 350
The Goat Horn 349
The Great Boredom 349
The Invstigating Magistrate and the Forest 348
The Master Of Boyana 350
The Patent-Leather Shoes of The Unknown Soldier
349
The Prosecutor 350
There Is Nothing Finer Than Bad Weather 349
The She-Wolf 348
The Sun And Shadow 349
The Well 351
The White Room 348, 349
Thou Who Art In Heaven 350
Tilt 352
Time Of Violence 350
Typhoons With Gentle Names 349
V
Vampires, Spooks 351
W
Wagner 261, 352
Waste 351
Westworld 306
1952 Ivan nd Alexandra 350
, 280, 301
, 59
(), 139, 145, 179
, 18
, 23
79
, 343
, 172
, 110, 244
, 195
, 160, 168, 299, 316
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256, 288, 292, 301, 315, 318
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, 281
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, 278
, 267
, 267
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, 163, 164
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207
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211, 212,
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104, 111, 139, 140, 223
, 50, 53
, 303
, 18, 197
, 49, 51
, 280, 285
, 10, 162
, 148
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, 278
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, 279, 280, 281, 282, 285, 286, 287
, 185
, 192
, 102, 354
, 245
363
, - 114
, 332, 333
, 153, 356
, 125, 148, 168
, 14
, 93
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, 253, 337
, 36, 38, 57, 88, 89, 318
, 171, 178, 179, 202, 205, 316
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, 226
, 272
, 181, 183
, 272
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, 231
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, 259
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, 123
, 120
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, 297
, 325
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, 318
, 263
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, 315
58
, 30
, 251
, 47, 48, 52, 58, 94, 149, 150, 160,
220, 222
, 69
, 85, 90, 94, 95, 99, 102, 103, 104,
111, 134, 137, 139, 140, 164, 167, 174, 190, 203, 223,
256, 257,
279, 318
, 222
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, 74, 97, 98, 100, 108, 109, 115, 139,
140, 153, 171, 172, 224, 238, 248, 356
364
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342
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, 231
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, 72, 80, 125
, 295
, 133
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, 219
, 245
, 54
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, 290
, 25, 60
, 128
, 172, 245, 255, 256, 286, 288, 289,
290, 328
, 303
, 217, 290
, 252, 280, 285, 297, 303, 306,
308, 309, 311, 324
, 105, 163
, 332
, 162
, 115, 140, 147, 171, 178, 194, 243,
279, 285
, 205, 288, 292, 293
, 128
, 143
, 265
, 105
- 305, 333
, 316
, 306
- 123
, 246, 247, 256, 260, 315
, 65, 66
, () 233
, 144
, 225
, 265
, 186, 316, 319, 320, 323
, 54
, 265
, 137, 343
, 76
, 290
, 305, 338
, 160, 162
, 260
, 40
, 293
, 281, 283
, 55
, 160
, 28, 32, 41, 53, 54, 148, 149
, 273
, 182
, 278
, 28
, 123
, 303
, 181, 183, 241

, 241
, 159
, 298
, 303
, 86, 94, 147, 175
, 10
, 162, 163, 354
, 337, 341
, 132
, 303
, 10
, 195
, 80
, 205
, 244
, 10, 278
, 295
, 46, 221, 353
, 121, 153
, 171
, 53
, 18
, 87, 255
, 205, 305, 330, 332, 336
, 256, 315
, () 168
, 17, 18
, 177
-, 232
, 184, 206
, 195
, 318, 337, 343
, 14
, 56
, 78, 108
, 10
, 117
, 128
, () 205, 274, 292, 296
, () 319, 320
, 147
, 99, 241
, 210, 274
, 226
, 10
, 335
, 200, 201
, 125, 159
, () 271
, 178, 179
, 188
, 144
, 310
, 171, 178, 180, 246, 255, 269, 270, 271,
274, 286
, ( ) 329
, 321
, 255, 341
, 267, 302, 316, 319, 321, 329

-, 65
, 141, 180, 318
, 267, 288, 296

, 222
, () 258, 259, 318
, 200
, 172
, 335, 336
, 142
, 181, 189, 191, 193, 215, 216, 302
, 241
, 218, 226, 305, 333
, 105
, 314
, 189
, 289, 290
, 77
, 277
365
, 314
, 253, 267, 295, 299, 311, 312, 313,
314, 315, 316, 318, 319, 320
, 14, 15, 229
, 90, 95, 104, 105, 108, 110, 111,
134, 135
, 59
, () 161, 192, 202
, 104, 136
125, 159, 179, 181, 183
, 316
, 13, 15, 39, 74, 103, 138
, 56, 90, 139, 145, 179
, 242
, 121, 241
, 11, 246, 247, 251, 252, 258, 296,
302, 319, 320, 330, 337
, 118, 119, 165
, 11
, 274, 290, 301, 303
, 332, 334
, 184
, 181, 183
, 60
, 165, 172, 178, 179, 245
, 181
, 99, 143, 147, 149, 160, 192, 279
, 140
, 290
, 137, 184
, 337
, 120, 193
, 156, 161, 176
, 140
, 329
, 267, 282, 284
, 48
, 106, 123, 134
, 309
, 13, 248
, 56, 67, 68, 209
, 53
, 290
, 271, 272
144
, 47, 50, 51, 53, 56

, 66
, 241
, 227
, 257
, 195
, 232
, 296
, 128
, 171
, 241, 299
, 274
, 79, 82
, 121
, 205, 261, 270, 283, 285, 286, 287,
300, 304, 330
, 125, 159, 179, 181, 183
, 64
, 192
, 276, 353
366
, 13
, 65
, 231, 232, 256, 277, 315
, 273
, 334, 336
, 38
, 178, 179, 218, 219, 220, 222, 226,
230, 231, 237
, 63, 66, 71, 355
, 21, 41, 53, 54, 79, 92, 100
, 39
, 94
, 304, 323
, 226
, 11, 14, 15, 37, 47, 53, 72, 81,
96, 99, 101, 102, 106, 107, 110, 116, 119, 123, 125,
137, 211
, 159, 179
, 11, 14, 200, 206
, 234
, 278
, 302
, 121, 355
, 11
, 200
, 145, 151, 152, 172, 181, 183, 197,
202, 213, 220, 222, 256, 257, 258, 318
, 39, 78
, 141, 180
, 120, 148
, 51
, 293, 303
, 219, 233, 234
, 58
, 299
, 289, 327
, 76, 82, 354
, 241
, 162, 175, 186, 197, 198, 203
, 61
, 126, 127
, 293
, 179
, 201, 326, 328, 339
, 246, 247, 265, 267, 299, 303, 316,
318, 319, 320, 337
, 77
, 277
, 168, 169
, 282
, 314
, 267
, 54
, 275, 276, 277, 279, 280, 285,
286, 287, 296, 301, 316
, 267, 288, 324
, 199, 216
, 249
, 114, 123, 137
, 181
, 22
, 195
, 211
, 193, 215, 244, 252, 262, 264, 309
, 253, 293, 297, 313, 321

, 310
, 335, 336
, 121
, 163
, 184, 187
, 298
, 309
, 310
, 314
, 147, 171
, 222
, 121
, 195
, () 191
, 265, 267, 326, 328
, 252, 259, 305, 318, 329
, () 163, 353
, () 57, 149, 150, 160, 164,
181, 182, 183, 191, 204, 209, 210, 219, 242, 243, 249,
255, 280, 285, 286, 304
, 56
, 221, 223
, 60, 354
, 120
, 287
, 274
, 159, 175, 193, 219
, 118
, 159, 194, 204, 218, 235
, 23, 25, 78, 79, 80, 84
, 215
, 278
, 27, 62
, 153, 179
, 246, 247, 260, 267, 280, 286, 287,
299, 337
, 154, 213
, 333
, 153, 357
, 80, 181
-, 305, 324, 338, 343
, 114
, 30, 66, 95, 141, 165, 172, 178,
179, 192, 197, 198, 199, 201, 203, 205, 214, 217, 219,
220, 222, 245
, 116, 117, 124, 140, 153,
169, 172, 178, 179, 214, 256
, 30
, 218, 241
, 304, 305, 332, 334, 336
, 299, 337, 343
, 181, 183
, 251
, 14
, 56
, 54
, 120
, 163, 180
, 10, 14, 18, 24, 26, 52, 98, 184,
185, 243
, 241
, 76, 148, 185
, 253, 313
, 251, 302, 317, 321
, 141, 147, 149, 171, 205, 206, 331
, 142, 188
, 241
367
:

, 2013
. ..
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. ..

60/90/16
ISBN 978-954-8594-41-7
: 20

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, .

60-, 70-, 80- ,

175, . ..., . 264.

277, . , . , 1991, 9/10, . 68.

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the beginning of the new century.

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3) pathos, consistent with ideological directives

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multiplication of ideologemes. The conflict was inevitable in 1958, just before

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85, 102, 103, 119, 249

147, 149, 153, 161

8, 255, 256, 269, 270, 271, 273,

220, 222, 224, 226, 227, 228, 232, 333

23, 25, 78, 79, 80

181, 183, 184

Khan Asparoukh 350

, 30, 47, 48, 94, 99, 118, 154, 223,

, 120, 159, 181

, 181, 183, 241

, 267, 302, 316, 319, 321, 329

, 267, 288, 296

, 47, 50, 51, 53, 56

, 253, 293, 297, 313, 321

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