Modules are taught  the lecturer doc. U.Dachev, and   Dr. Ludmil Dimitrov.

Preparation: Acknowledgment of the role of theater in the culture of a given period, with specific relationships between ¨ the theater and spectator ° for different periods of the history of theater, with the place of man art in social hierarchies that change with the image of theater and theater people in other arts - literature, film, television and others.

Academic performance will be evaluated: The associative ability of learners at various provocations to assimilate the fact in a concrete theatrical wider cultural context.

Form which will be demonstrated results: written records - reports, tests, improvisation on a subject chosen by students, assuming the coordination of knowledge acquired with the freedom of associations. Discussions on topics proposed by students Ainis than facts of life history and contemporary theater.

Procedures évaluatioin student achievement:

End of semester examination, including the development of a test. The course  includes the development of the Global Theatre since Antiquity, Middle Ages, the Classical and the contemporary period (after WWII).

The main thing is not the accumulation of information and an abundance of facts, but an analysis of different genres, styles and schools. The pricipe module which is followed presupposes a more concise maner to establish relationships between the period, theory, drama and spectacle. The goal is Activision assimilation of matter by students for a development of their creative and intellectual abilities.

The way is prepared in three modules. Ancient, medieval and Classicism and Contemporary European Theatre.

The course of Dr. Ludmil Dimitrov includes:

History of Russian drama and theater of the nineteenth ciècle.

The history of Russian drama and theater of the nineteenth century classic is part of the discipline · Theatre and Literature ¨ which is taught during the fourth semester (second semester of 2nd year) students of the College Theatre Luben Groys ¨ ¨ a total time of 45 hours (15 weeks per 3 hours).

Profile has the direct task of initiating students into prime actor in a theoretical aspect - empirical, with the logic of the literary process in Russia during the nineteenth century - the period during which required so-called literature Classic Russia and influences the whole literary process in Europe, like Bulgaria. The drama and theater have a special place, of primary importance in the cultural formation of Russian society, maintaining (in the first half of the century) and destroyed (during the second half) stereotypes in the communication of product literature, and Generally, cultural - artistic as representing the drama and spectacle. The theater, as a national institution, exercising influence on the complicated process of transforming the social composition of groups, manifested by a specific experiment in the field of gender discourse and stability: the continuing course of how and why verse drama in Russia gave way to tragedy in prose, why vaudeville translation is compensatory for a given period of time, intended to fill the vacuum in the cultural strategy of Russian society and why the drama in the end account overcomes the high wave epic, demonstrating through the phenomenon Chekhov, a taste for the theatrical texts, noting that the novel is more popular and thoughtful da before the conventional manner. The profile aims to améloirer the competence of future actors in a qspect théoritique and to strengthen their creative abilities to read, analyze and interpret dramatic text, comment on and build the logic of an image or another in the drama.

History of Bulgarian drama and theater of the nineteenth and twentieth century.

The history of Bulgarian drama and theater of the nineteenth and twentieth century is part of the discipline · Theatre and Literature ¨ which is taught during the 5th semester (first semester of the 3rd year) students of the College Theatre Luben Groys ¨ ° d a total time of 45 hours (15 weeks per 3 hours).

The course aims to introduce students to mastery as an actor in the genesis, logic and research of drama and theater Bulgarian from their appearance during the period of our National Renaisanse today. We made an attempt to seek an answer to the important issue for our national culture why the period relates to the life of Bulgarians IX - Century X-th century, despite its undoubted contribution to the development of Slavic languages, paradigms integrating cultural and literary process, but separating the general European point of view nationality, at the same time, does not lead to the development of a theater and an original drama, does not import ¨ ¨ with dialectical lasting traces. Carefully explores the cultural situation of the last stage of the Renaissance, which made the theatrical practice in an economic, political and spiritual. It explains the high gasoline institutional theater and thought dramturgique Bulgarian differing Theatre - mass action, the people, places that had been imposed in the space reserved for the revival of Western Europe to Russia.

It continues the evolution of the drama before the creation of the Bulgarian National Theatre as an institution and its various paroxysms presented by D. Voinikov, V. Drumeva, T. Peev, I. Vazov. Particular emphasis in the course of instruction is the phenomenon · Drama mythological Bulgarian ° during the first two decades of the twentieth - century, revealing the need for national self-identification and compensation for non-romantic kind - carried out in our literature. Here, we analyze the classic texts of Yvorov PK, PU Todorov, A. Strachimirov, R. Stoyanov, G. Raichev, K. Hristov, J. Iovkov.

A special place is reserved to ° playwright pure ¨ in Bulgarian literature St. L. Kostov and his extensive theater work. Examines how the National Theatre to function as the guardian of theatrical culture in our schools and the different aesthetic passed through his scene. It outlines the parameters of gender, ideological and aesthetic research experimental contemporary Bulgarian drama primarily through representatives of the most significant twentieth-century - D. Dimov, J. Radichkov, N. Russev, St. Stratiev, I. Radoev, K. Iliev, St. Tzanev dramatic and final wave - Hr Boichev, U. Dachev, J. Dobrev, T. Dimova et al.

In general, the profile aims to improve the competence of future players in a theoretical as well as to strengthen their creative abilities to read analyze and interpret dramatic text, comment on and build the logic of an image or another in the drama.