Author of the Week / 7 October 2024

The living forms of contemporary poetic writing in Bulgaria

Author of the Week: Bulgaria


If there is something that contemporary literature has adopted from social media and perfected, it is the act of making constant curtsies to readers. I do not mean this pejoratively, nor do I say that it necessarily leads to compromises in writing. What I rather have in mind is that specific care, that specific search for readers which promises larger popularity and more vigorous life for literature by allowing it to enter everyday practices. In this sense, writing has recently turned into a search for different forms, including the carnivalesque, which would allow for greater visibility of authors and more public engagement. In what follows, I will endeavour to present some of the most successful phenomena that have breathed new life into contemporary Bulgarian poetry. It is no secret that poetry, unlike novels or even short stories, needs to penetrate life more deeply in order to be adopted and assimilated through different experimental forms. In principle, it is read less and requires greater effort and concentration, especially in the case of serious philosophical poetry that does not excite the ear by trite rhymes and declarations of love. This is the reason why many authors have put considerable effort into bringing it to the stage, so as to rely on the performance itself, to affect the audience by voice, intonation, staging...

In short, in recent years theatre has tried to aid poets. One of these efforts is the marvellous initiative ‘Actors Against Poets’ launched by the poet Stefan Ivanov, which is held fairly often (once or twice a month) at Sfumato, a notable theatre space in Sofia. Entrance fee is charged at the door and the idea is for a competition of sorts to take place between young actors and young poets, some of whom are already well established. Each team consists of five to six participants who partake in a reading competition, as it were, the purpose of which is to make the winners stand out. This brings poetry to life in a series of brief shows and many poets gain huge popularity, especially among younger audiences.

Also interesting and immensely popular is the format of the show ‘The Poets’ featuring some of the most recognisable faces of Bulgarian cinema and theatre who read – often thematically (on the topics of love, music, etc.) – poems by classic Bulgarian authors. Thus, the fame of the performers is transferred by extension to the poems themselves and the show’s popularity is growing – the tickets are sold out regularly and the tours are increasingly successful, filling large venues across Bulgaria.

Another way of popularising poetry is via music. One of the regular features of the Sofia International Literary Festival, the most renowned and authoritative literary event in Bulgaria, is called ‘Poetry and Music’. Most prominent contemporary poets read their newest poems, followed at intervals by performances of bands and singers popular among the younger audiences, such as ‘Ostava’, Stefan Valdobrev, Milenita and many others. It should be mentioned again that the purpose is for the musicians to attract audiences that in turn would become fans of poetry, too. Poets such as Petar Tchouhov and Ivan Hristov, as well as the young poets from the New Asocial Poetry Group (that identify themselves as alternative), put on music performances at their poetry readings, and they frequently perform the music themselves. The latter frequent the Gramophone Club in Sofia and organise events there to provoke the audience with alternative music in the background. These performances include poetry addressing important topical issues – ecology, human rights, war, etc.

Another part of the theatrical life of contemporary Bulgarian poetry are the so-called ‘Green Libraries’, the ‘Living Metaphor’ initiative and ‘Troubadour’ poetry duels. The first initiative is connected to readings of contemporary poets in parks and public gardens in Sofia, again accompanied by music. Oftentimes, the participating poets experiment with children’s poetry, too, in order to cater to the audience and satisfy the expectations. These readings sometimes turn into discussions of sorts with the people attending, signing of autographs, book recommendations, etc.

‘Living Metaphor’ is competitive in nature and puts two young poets against each other. They are usually members of active literary clubs at secondary schools in the capital city of Sofia, and are assessed by established poets. Thus, an important meeting of different generations takes place and talented debutants are provided with opportunities.

‘Troubadour’ duels are a kind of competition, as well. They involve a meeting between two male or female poets, each seconded by a trusted representative. The poetic competition is divided into four rounds: in the first round, the participants present their best works to their opponent, while in the second – the worst ones they have written (in their own opinion). In the third round, the seconds defend their respective author and possibly point out the opponent’s weak points. In the fourth round, the authors read poems they had written during the third round on a topic given by the audience. There is a public voting after each round to choose the winner. The audience’s judgement and engagement is crucial.

The so-called ‘Poetic en plein air trips’ take place all over Bulgaria, and sometimes even abroad, and are also popular. A group of poets write at various outdoor locations, in front of monuments, interesting buildings, in public gardens. At each place, there is a time limit for writing, after which the poets have to read their improvisations. Some of the most recognisable faces of contemporary Bulgarian poetry take part in en plein air trips. Moreover, these trips have also become a tradition in some poetry contests which attract very young poets, too. Thematic cycles are created in this way, which may poetise a historical figure or a ‘place of memory’, or may be dedicated to key symbols of European civilisation, such as the Reichstag Building, the Brandenburg Gate or the Berlin Wall.

Interesting trends in contemporary Bulgarian poetry in terms of genre are political poetry and rap poetry, which are intended to be performed on stage. In recent years, the poet Plamen Doynov has written and performed political poetry quite skilfully. He is one of the founders of the genre and in his political poetry he introduces topics such as Bulgaria’s communist past, the dissidents, intellectuals from the former Eastern Bloc and their dependence on State Security[1]. More generally, his work also deals with topics such as the relationship between talent and integrity, writing and conscience, poetry and ideology, duty and treason. In turn, rap poetry attracts younger audiences with its rebellion against rules and social restrictions, and more generally by taking the side of the underdog.

In the last two or three years, a very prominent trend in female poetry, especially among younger female authors, has been the topic of women and violence. Whole poetry collections are centred on childhood trauma of living in a family with an abusive father. Other topics include escapism, social isolation, the shame experienced by women victims of violence, loneliness and the lack of sympathy and compassion in society. Often, young females writing this type of poetry organise public readings, sometimes on improvised platforms on the streets.

Finally, another quite strong initiative, going on for five years now, is ‘Poetry on the Subway’. It was started by the Polish Institute of Culture in Bulgaria and was subsequently joined by other institutes of culture of other EU member states. The Bulgarian partner is the national literary weekly Literaturen Vestnik. Each November, poems of 20th- and 21st-century European poets are printed on posters and placed in underground trains and underground stations. In recent years, the topics of Europe, ecology, war and friendship were the most frequent ones. Among the poets featured, there is always one living Bulgarian participant. Thus the passengers have the opportunity to acquaint themselves with short poems by some of the most prominent contemporary European poets, enjoy their translations and understand that poetry, too, can voice current events and propose solutions.

It can be said that some of contemporary Bulgarian poetry continues to experiment with language and form and play with tradition, drawing from postmodernism; some, on the other hand, is orientated towards high modernity and philosophical dialogues, while some is focused on current affairs – the war in Ukraine, the disasters, the climate change, the fear for the future. Regardless of whether it attempts to step out of the books or relies on being read in solitude, contemporary Bulgarian poetry helps its readers go through everyday life and trace trajectories for tomorrow.

 


[1] Former Bulgarian secret service for intelligence and counter-intelligence, active during the 1925–1990 period. Truly obscurantist after the establishment of the communist regime in Bulgaria after 1944.

Author

Amelia Licheva

Amelia Licheva is a poet and literary critic. She is Professor of Literary Theory at Sofia University St. Kl. Ohridski. She is the author of numerous theoretical and poetic books. She is the editor-in-chief of the Literary Journal, chairman of PEN Centre – Bulgaria and director of the Sofia International Literary Festival. Her poems have been translated into English, French, German, Italian, Spanish, Polish, Slovak, Croatian, Hungarian, Greek, Arabic.

 

Photo by Adriana Tangucheva

Related