In 1988, Vantzeti Vassilev fled to Serbia, from where he moved on to Italy and, eventually, to New York in 1989. During his escape, Vassilev managed to bring out a copy of the manuscript Semenata na straha [The Seeds of Fear]. Another copy of the manuscript remained hidden at home, in the ceiling of his old barn, where he recovered it in 2016. In New York, Vantzeti Vassilev became an author of autobiographic novels. He also finished Semenata na straha [The Seeds of Fear] as a first-person account of the humiliation and impasse of a young scientist under the conditions of a totalitarian regime. The book was published in Sofia in 1991 with the financial support of Open Society Institute and then presented in New York.Due to its success, the book was re-issued in 2011 and presented on various occasions, widely covered by the media.
A diagram The Stages of the Evolution of Art from 1972 is a graphic extension of the idea which Ludwiński presented two years earlier in the text Art in the Post-art Epoch. Ludwiński often used images and diagrams to better explain his thoughts on history and future of art. As a man of a spoken word, he rarely wrote and rather talked, discussed, and argued in an oral way, helping himself with some notes and sketches. On the other hand, Ludwiński’s drawings are a testimony for his visual imagination. In this case, the evolution of art is presented through overlapping of next rings, analogically to the rings visible in the tree’s section.
The Stages of the Evolution of Art in a suggestive way show the dependencies and development directions between the main genres in the modern art, as well as design its forthcoming tendencies, through the conceptual and impossible art (thus the streams developed at the turn of the 1960s and the 1970s, all to the phase 0, when art is supposed to disappear in the reality of science, technology, and social life, acting through empathy and over-intellectual understanding).
Diagram is a repository of Zacheta Lower Silesian Fine Arts Association in the Modern Museum Wroclaw and it is presented on the exhibition in two languages: the original (Polish) and in English translation.
In 1947, given the new political situation, the followers of Petar Danov organized the printing of The Testament of the Colour Rays of Light in 1000 copies in the fraternal printing house "Zhitno zarno [Wheat grain]." Due to the harsh economic and political conditions, this printing was not as opulent as previous editions – the paper was almost newspaper quality, stapled together with a cover made from cardboard, but the internal orthographic layout and content are identical.
In 1950 the printing house was closed, the printing machine and other publishing tools were confiscated. At the end of the 1950s, "over 50 tons of reactionary literature by author P. Danov from throughout the country was seized", part of which was sent to the Central State Archive, but part of which was destroyed.
In the period from 1947 until the political changes in 1989, there is no information on any new editions of The Testament of the Colour Rays of Light. The lectures of Peter Danov were not published, and his texts were distributed via samizdat only. It was not until 1994 that the book was re-published. Since then, the book has over 10 printings, translated into English, Spanish, German, Russian and Greek.
- Varna, Bulgaria
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"The Tied Up Balloon", 1967, director Binka Zhelyazkova, script-writer Yordan Radichkov, cameraman Emil Vagenshtayn.
In 1967 Binka Zhelyazkova shot the movie "The Tied Up Balloon" (1967) after the script of Yordan Radichkov based on his short novel of the same name. Zhelyazkova created the film after five years of silence for the bureaucratic apparatus had banned her from shooting after her first two movies from the late 1950s and the early 1960s.
"The Tied Up Balloon" is based on a true story – the breaking off of a military aerostat during World War II which flew over a small Bulgarian village. The villagers decide to chase the balloon in order to make themselves shirts and pants from its silk material. The pursuit of the balloon is rendered by multiple tragicomic situations. Gradually, the villagers forget the initial impulse for the chase of the balloon, forget the feud with the villagers from the neighbouring village with whom they fought for the balloon. In their attempt to reach the balloon they rise in spirit. Finally, the balloon falls on the ground and the men catch it but in that very moment the military police force arrives and in order to save the balloon the villagers let it fly away. However, instead of flying away the balloon makes a turn and tries to fight the soldiers but in the end it is "deadly" shot.
The leitmotif of the film is a running barefoot and speechless girl in white – a peculiar projection of the balloon which flew away towards freedom. Just like the balloon, the girl is running; at times she is hiding from the villagers, at times she is dancing a chain dance with them; in the end, just like the balloon, she is shot by one of the villagers, by one of her own. With this character, Binka Zhelyazkova expressed her own feeling of pursuit, of impasse and as the analysts interpreted it of what would have happened after the shooting of the movie (Станимирова, Братоева).
The film is a modern, stylized cinema reading of Yordan Radichkov's work, a complex mixture of comic and tragic, rich of colourful characters and situations which outline the multilayered Bulgarian national character.
The film is a rebellion against the standards of the socialist art – the conscious breaking of the plot in pieces, the rich metaphors and the pessimistic disharmony in the end of the movie (the death of the girl and the burst of the balloon) define the style of Zhelyazkova and Radichkov as "magic realism". "Long before Kusturica, with her Balkan temper and emotion, she had created in cinema the same "reality striving for the sky" with which he conquered the world." (Станимирова 2012: 243)
The movie was finished in spite of the many bureaucratic obstacles in front of the team. The film participated in the International Cinema Festival "Expo 67" in Montreal and was bought for distribution in Europe and America. Nevertheless, the Bulgarian side recalled the movie, cancelled the contract for its purchase and paid a penalty in dollars. The Bulgarian cinematography refused to let the movie participate at the international cinema festival in Venice. The film was shown for a short period of time at a cinema theatre in order to avoid an official ban. Afterwards, it was taken off the cinema for more than two decades. The party document revealing the attitude of the authorities remained hidden; it wasn't published but sent as a circular letter to all sections – party committees, cultural institutes: "...the recent film of the director Binka Zhelyazkova, "The Tied Up Balloon", causes serious anxiety. The director turned some negative sides of the script into an entire movie concept. The events and characters are developed in the light of pessimism and distrust of man. Contrary to the truth to historical facts, the Bulgarian villagers of the period of World War II are depicted as a half-savage crowd. The movie is a mockery of man, of the human and national dignity, of the historical traditions and the heroic struggles of the Bulgarian nation." (cited after Станимирова 2012: 247-248)Only in the early 1989, the film was shown at the Berlin International Film Festival in Western Berlin (later called Berlinale).
Rudolf Mihle (1937-2008) was one of the most important Czech amateur filmmakers and an active member of the Czech Club of Amateur Filmmakers (Český klub kinoamatérů). In 1968, he filmed a six-minute documentary film “The Time of Accumulating Stones” (Čas shromažďování kamení), which depicts the Berlin Wall in June 1968. The film was featured in 2011 at the 15th International Documentary Film Festival in Jihlava, Czech Republic, as part of the project “Amateur Filmmakers” (Kinoamatéři).