play

The text examines the form of a stage presentation of the con- version of the Bulgarian monarch and his people and the preservation of the Christian religion in three plays of the German-speaking Jesuit school theaters, as well as the presentation of this plot in the engraving of German artists from the 18th century.

The article notices the first critical assumptions about “Ivanko“ dramatic work by Vasil Drumev. It also directs towards the detailed comment by Yordan Trifonov about the historiography sources which the author used to construct the plot. After Drumev develops the character of Ivanko, it becomes attractive to other Bulgarian writers, too. The emphasis of the text is upon the fact that after the work of the playwright from Bulgarian National Revival, the image of Ivanko becomes recognizable and discussed historiographic character. Due to Drumev’s writer finding and the scientific interest of Trifonov, the historiographic plot about him develops right after its literature one.