Abstract |
Since the middle of the 20-th century,
modern art processes have been developing - under the strong
influence of the Freud's discovery which has directed the public
attention to the human subconsciousness - because of the fact that
the impact on the public is not formed solely by deliberate and
didactic formulation of messages, mainly by verbal ways. The style
of life, the realism were displaced by more synthetic and
influencing theatrical trends. Besides, the absurdists, and later
Pinter, caught the degradation of the action-speech-and-thought
unity in modern man, painfully perceiving the devaluation of words
and their sense. In parallel to this, a strong trends appears - of
seeking new cosmopolitan language in the theater - more adequate to
the time at the end of the 20-th century and more
influencing in the epoch of the new technologies. Theatrical
reformers - such as Grotovsky, Robert Wilsel, Eugenio Barba, as
well as choreographers of the level of Martha Gream and Pina Bausch
- seek in different directions, but having the same general
objective, an international universal stage language able to
express the common values and dilemmas of the time. In such context
are interesting the progressing directions of the Bulgarian
"scenery". Such are: the quest for modern dancing by the "Arabesk"
studio and its leading figures, Boryana Sechanova and Mila
Iskrenova, and, on the other hand, the renewal of our theaters by a
language for the nowadays' stage (searches by the
producers Vazkresiya Viharova and Lili Abadzhieva). The
nowadays actors are compelled to come out of their daily ordinary
body and behavior and to place themselves in a context of "general
validity" where they transform into instruments for creating new
language - of body language and alphabet of vision.
Key words: Europe - Bulgaria, innovation and
renewal, universal language, body language.
Orientation: Theatrical art - "The universal
language of the modern stage"
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