Quo vadis ars?
The situation in the cultural sector has been
described and discussed in numerous interviews, corona diaries,
comments and reports in the past few weeks. Our annotated
collection
of currently 193 sources
gathers voices from different sectors and media.
This creates a picture of the cultural landscape in crisis,
whose temporal transformation can be explored interactively
via a dedicated
tag cloud.
#allesdichtmachen: Die infektiösen Folgen der Infodemie
#allesdichtmachen: Die infectious consequences of the infodemic
by Markus Gabriel (26 Apr 2021)
Original source: Frankfurter Rundschau
The philosopher misses too much the humanities that reflect media and artistic discourses such as those triggered by the actors' videos of #allesdichtmachen. He sees the quality of artistic statements precisely in addressing mechanisms and stereotypes in relation to Corona. Instead of classifying and analysing, he accuses the media of being too willing to let social media such as "some arbitrary Twitter account lead the thought process" - infodemics as twittocracy.
tag #allesdichtmachten Jan Josef Liefers Ulrike Folkerts Twittokratie Infodemie Schauspieler*innen Philosophie Performing Arts/ Cinema Statement
Sind die #Allesdichtmachen-Videos gerechtfertigt?
Are the #Allesdichtmachen videos justifiable?
by Jennifer Wilton, Andreas Rosenfelder (25 Apr 2021)
Original source: Welt
One accusation against the actors who took part in the #allesdichtmachen action is that they have no empathy for the Corona patients. Andreas Rosenfelder shows from the reactions to the action that their critics lack empathy. The actors, on the other hand, have shown that they can empathise with the worries and needs of a society in a state of emergency.
Jennifer Wilton finds the action less convincing. She feels that the clips not only lack content, but for her the videos express mockery, irony and cynicism that affect people who have been living in cons tant fear for a year.
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tag #allesdichtmachten Schauspieler*innen Empathie Satire Angst Unsicherheit Performing Arts/ Cinema Statement
Ein Wort geht um auf deutschsprachigen Bühnen: der »Premierenstau«
A word is circulating on German-speaking stages: the »premiere backlog«
by Bernd Noack (29 Jan 2021)
Original source: Neue Züricher Zeitung
While the theatres had still hoped to reopen soon with the announcement of a lockdown light in November, the date for the start of productions seems to have receded into the distant future. While many theatres were still working on new productions in November and December, rehearsals have now largely stopped. Frustration in the ensembles is growing, as it is even less foreseeable than in the spring when a return to normal operations will be possible. As at the beginning of the season in autumn, audiences can then expect a flurry of premieres, as the new productions are j ust waiting to be presented. Until then, on the one hand, crisis management is in demand at the theatres, which - according to many theatre managers - is basically part of their everyday business. On the other hand, Nicolas Stemann from the Schauspielhaus Zurich asks the justified question of whether one can continue to plan with a theatre repertoire operation or whether the houses should not use the current situation to try out new formats and a new kind of artistic activity.
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tag Theater Systemrelevanz Lockdown Premierenstau Quo vadis ars Planungssicherheit Performing Arts/ Cinema Bericht
Schauspielhaus-Intendant Stemann: «Uns ist die Fähigkeit abhandengekommen, mit anderen Menschen mitzufühlen»
by Julia Stephan, Nicolas Stemann (22 Dec 2020)
Original source: Tagblatt
Working creatively and productively with the resistances that the Corona crisis means for theater professionals, that is the trademark of Nicolas Stemann, the co-director of the Schauspielhaus Zürich. Already last spring, he accompanied life during the pandemic critically and humorously at the same time with columns for the Neue Zürcher Zeitung and the 'Corona Passion Plays'. In his home office he wrote songs for the Passion Plays, as it was not possible for him to discuss developments during the suspended rehearsals. Nevertheless, he also sees the nega tive sides of the pandemic. Workflows have to be rethought, premieres postponed, casts minimized, schedules rescheduled - of course, this also means a great burden. On the one hand, this increases the workload for many, and on the other hand, it is extremely stressful, especially for actors, if they cannot rehearse with a goal in mind. This is one of the reasons why the Schauspielhaus Zurich very successfully offers a live-streamed performance once a week.
It is important for Stemann to emphasize that the theaters consider the closure of the houses to be an important contribution to the fight against the pandemic. His only concern is that it may have too little impact by placing too few restrictions in other areas. With regard to the concerns and problems of people during the pandemic, he considers art and culture to be extremely important in order to negotiate the open questions together in a discussion space and to find an outlet for emotions. The fact that this is not available at the moment, but that instead emotions such as hatred and incomprehension are acted out in social networks, is for him one of the major problems of the theater closures. Read More Read Less
It is important for Stemann to emphasize that the theaters consider the closure of the houses to be an important contribution to the fight against the pandemic. His only concern is that it may have too little impact by placing too few restrictions in other areas. With regard to the concerns and problems of people during the pandemic, he considers art and culture to be extremely important in order to negotiate the open questions together in a discussion space and to find an outlet for emotions. The fact that this is not available at the moment, but that instead emotions such as hatred and incomprehension are acted out in social networks, is for him one of the major problems of the theater closures. Read More Read Less
tag Theater Tod Streaming Arbeitsalltag psychische Belastung Quo vadis ars Performing Arts/ Cinema Interview
»Ich empfinde die Schließung der Theater als reine Willkür«
»I consider the closure of the theatres as purely arbitrary«
by Dieter Hallervorden, Susanne Lenz (09 Nov 2020)
Original source: Berliner Zeitung
Not proportionality, but arbitrariness is a characteristic feature of the current corona resolutions. Based on this view, the German actor and comedian Dieter Hallervorden has enormous doubts as to whether the closure of the theaters this fall is actually legal. Therefore, as the owner of the Schlosspark Theater in Berlin, he has filed an expedited motion with the Administrative Court against the closure of his theater. In an interview with the Berliner Zeitung, he points out that the German Chancellor, Angela Merkel, has called the theaters "safe places". Basi cally, people come closer to each other at a hairdresser than in a playhouse. He therefore does not see the proportionality that is a prerequisite for the restriction of basic rights. In his expedited motion, he refers to the freedom of the arts as laid down in the German constitution, which he sees endangered by the closure of the theaters. Although he himself has had to contribute a great deal of money in recent months to cover the running costs of the Schlosstheater, the financial loss hurts at most his son, whose inheritance is diminished by this. The successful actor does not seem to be in financial straits for a long time yet.
Hallervorden, who characterizes himself as a rebel, is particularly pleased that he has received a great deal of recognition and approval from the audience. Disappointment is read between the lines when he confirms that although many colleagues wished him success in his application, there was very little active solidarity. Read More Read Less
Hallervorden, who characterizes himself as a rebel, is particularly pleased that he has received a great deal of recognition and approval from the audience. Disappointment is read between the lines when he confirms that although many colleagues wished him success in his application, there was very little active solidarity. Read More Read Less
tag Theater November-Lockdown Verhältnismäßigkeit Eilantrag Grundgesetz Kunstfreiheit Schlosspark Theater Performing Arts/ Cinema Interview
»Es fühlt sich an wie eine Bestrafung und Verhöhnung« . Kommentar zum Theater-Lockdown
»Es fühlt sich an wie eine Bestrafung und Verhöhnung«
by Dorothea Marcus (31 Oct 2020)
Original source: Deutschlandfunk Kultur
Theater critic Dorothea Marcus spoke with Wilma Renfordt, dramaturge of the NRW-Impulse-Festival, and Stefan Bachmann, director of the Schauspiel Köln. Although both are frustrated by the recent closures, they do not criticize the lockdown, but rather see it as a solidary contribution by the theaters. The independent critic cannot agree with these statements. Rather, she speaks of a slap in the face for culture, which - in contrast to slaughterhouses and shopping centers, church services and the train - must now close again, despite almost chumming up efforts for ex cellent hygiene concepts. However, she finds the new lockdown for culture alarming, not because it does not affect so many others, but because she does not believe it will be effective. This in turn undermines the acceptance of the measures in society. The many parties in the last few days speak for themselves. Corona deniers will feel encouraged. This not only endangers health, but also social peace. With the closures, hotbeds of fire will be set, which will perhaps occupy us much longer than the Corona crisis.
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tag Theater November-Lockdown Unterhaltung Verständnislosigkeit gesellschaftlicher Friede Wilma Renfordt Stefan Bachmann Performing Arts/ Cinema Kommentar
Kultur ist nicht für alle da . Corona-Maßnahmen und Kultur
Culture is not there for everyone . Corona measures and culture
by Tobi Müller (29 Oct 2020)
Original source: Zeit
With Till Brönner and the band 'Die Ärzte', prominent representatives of the music industry issued statements talking about the existential needs of many musicians, but also of the workers important to the industry, from event technology to gastronomy. In his contribution, Tobi Müller is right to criticizes the wrong figures and thus the economic power that the players in the industry are referring to. However, his comparison with employees, who would also be in a bad way, is misleading. After all, these employees may receive short-time compe nsation and, in the worst case, unemployment benefits. The solo self-employed person may request however directly social welfare assistance Hartz IV.
But Müller also complains that the statements conceal the fact that there are areas in the cultural industry that are affected more and which less. Music is undoubtedly one of the hardest hit economic sectors. However - according to Müller's central argument - the culture Brönner is talking about is that of the upper middle class, which can loudly stand up for the rights of artists. Especially in view of the fact that the punk band 'Die Ärzte' has ventured into the 'Tagesthemen' to raise its voice, the concept of culture that Müller represents in his contribution is remarkable. It is based primarily on concert halls, stages and museums, for which the jazz trumpeter Till Brönner is a symbolic figure, and not on the areas of culture such as folk music, hits or punk.
The suggestion that Tobi Müller has for the industry looks in the current situation rather strange: Not to always only bale the state into responsibility, but to show solidarity with one another. Why not open the large theater halls for concerts or enter into cooperation with museums, which usually have large, airy rooms. And as a sign of charity, churches could also offer the doors for theater and music professionals. Read More Read Less
But Müller also complains that the statements conceal the fact that there are areas in the cultural industry that are affected more and which less. Music is undoubtedly one of the hardest hit economic sectors. However - according to Müller's central argument - the culture Brönner is talking about is that of the upper middle class, which can loudly stand up for the rights of artists. Especially in view of the fact that the punk band 'Die Ärzte' has ventured into the 'Tagesthemen' to raise its voice, the concept of culture that Müller represents in his contribution is remarkable. It is based primarily on concert halls, stages and museums, for which the jazz trumpeter Till Brönner is a symbolic figure, and not on the areas of culture such as folk music, hits or punk.
The suggestion that Tobi Müller has for the industry looks in the current situation rather strange: Not to always only bale the state into responsibility, but to show solidarity with one another. Why not open the large theater halls for concerts or enter into cooperation with museums, which usually have large, airy rooms. And as a sign of charity, churches could also offer the doors for theater and music professionals. Read More Read Less
tag Musikbranche Till Brönner Die Ärzte Solidarität Wirtschaftsfaktor Staat Publikum Hartz IV Kulturbegriff Music Kommentar
»Die Ärzte« über Musik und die Pandemie
»Die Ärzte« über Musik und die Pandemie
by Bela B., Rod Gonzalez, Farin Urlaub, Ingo Zamperoni (23 Oct 2020)
Original source: Tagesschau
With the punk band ›Die Ärzte‹ there was an unusual guest on Friday evening in Germany's major news program Tagesschau. The aim of the guest's visit was to point out the situation of the event industry. Not only many musicians can still not perform, also the many solo self-employed behind the stage are for now 7 months to a large extent without commissions. Not only the importance of art in society must be made aware, but also the offers of help must be adapted to the situation of the industry. In conversation, the helplessness of even famous m usicians in the face of the crisis became apparent. Although ›Die Ärzte‹ support campaigns such as #AlarmstufeRot and an aid project for Berlin clubs, which turned out to be less successful than hoped for.
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tag Musikbranche Veranstaltungsbranche Solo-Selbständige Berufsverbot #AlarmstufeRot Existenzangst Wertschätzung Music Interview
Geld allein reicht nicht . Coronafolgen im ärmsten Bundesland
Money alone is not enough . Corona effects in the poorest federal state
by Felicitas Boeselager (02 Oct 2020)
Original source: Deutschlandfunk
An independent theater group, two art students and a small club were interviewed by Felicitas Boeselager for her feature about the independent scene during the Corona crisis in Bremen. What all actors are sharing is the joy of being able to offer events again. The audience at all events was also enthusiastic and grateful to finally be able to experience culture again. The independent scene in Bremen is closely connected by the pandemic, mutual support and exchange about new formats is highly appreciated by those affected. Nevertheless, all of the actors are currently una ble to make ends meet without public funding for culture.
Stephan Behrmann, freelance actor and dramaturge as well as spokesman for the »Alliance of Liberal Arts«, emphasizes that cultural funding in Bremen has been good for both the solo self-employed and the independent scene. However, he complains that the aid did not work so well in all federal states. He considers current scholarship programs that finance the artists' work on projects in an open-ended way to be good. He also rates the support provided by the "Neustart Kultur" program positively - even if one billion does not really seem sufficient considering the size of the industry. Whether the money actually helps the individual artists cannot be predicted at the moment - especially since the administrative effort involved in awarding grants is quite high. How many »silent deaths«, i.e. artists who have looked for a job in another branch, are to be registered, is currently not yet foreseeable. The situation will not improve in the next few years either. Since the municipalities are very much shaken, they cannot afford to support culture. Behrmann therefore considers it an inevitable consequence that the federal government will help out.
Read More Read Lesstag Bremen Kultursommer Bremen Freie Szene Clubszene Kulturförderung Neustart Kultur stiller Tod Insolvenz All sections Feature und Interview
Debatte um Künstler in Not . Corona-Soforthilfe gefloppt
Debate about artists in need . Corona emergency aid flopped
by Peter Jungblut (28 Sep 2020)
Original source: BR24
Another round of discussions on the state of culture: in Munich's Volkstheater, the Bavarian Minister of State for Science and Art Bernd Sibler had to answer questions from cultural workers. The displeasure is great. In Bavaria, the number of allowed visitors is still determined not by the size of the event rooms but by the size of the events. Only three houses are allowed to accommodate 500 spectators in the course of a model experiment. The fear among culture enthusiasts is still great, so that even these places are not sold out.
Just as unsuccessful as the pilot project was the emergency aid program for solo self-employed persons, which expired at the end of the most recent quarter. Instead of the expected 60,000 applications, the Free State received only 10,000, of which 8,000 were approved. The reasons for this are manifold. Some have already received money from other funding sources or applied for Hartz IV, while others are keeping their heads above water with other jobs if they are not already trying their luck in another profession. In the cultural sector, the fear of the "point of no return" is now spreading. What if next year too many cultural workers have already reoriented themselves and a return to the situation before the lockdown will no longer be possible? The helplessness is great. Bernd Sibler points to the satisfaction of the Bavarians with the strict corona measures, while Volkmar Halbleib, SPD party member of the state parliament, vehemently attacks his colleague from the CSU party: civilized cultural events are not a source of infection. Everyone is now aware of this. Therefore, something must now finally be done for culture to free the artists from their hopeless situation. Read More Read Less
Just as unsuccessful as the pilot project was the emergency aid program for solo self-employed persons, which expired at the end of the most recent quarter. Instead of the expected 60,000 applications, the Free State received only 10,000, of which 8,000 were approved. The reasons for this are manifold. Some have already received money from other funding sources or applied for Hartz IV, while others are keeping their heads above water with other jobs if they are not already trying their luck in another profession. In the cultural sector, the fear of the "point of no return" is now spreading. What if next year too many cultural workers have already reoriented themselves and a return to the situation before the lockdown will no longer be possible? The helplessness is great. Bernd Sibler points to the satisfaction of the Bavarians with the strict corona measures, while Volkmar Halbleib, SPD party member of the state parliament, vehemently attacks his colleague from the CSU party: civilized cultural events are not a source of infection. Everyone is now aware of this. Therefore, something must now finally be done for culture to free the artists from their hopeless situation. Read More Read Less
