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.
How we can save our theatres . Britain’s powerhouse cultural sector needs investment, not charity
by Sam Mendes (05 Jun 2020)
Original source: Financial Times
With regards to the grave situation for theatres in the UK Sir Sam Mendes believes to have a plan how to help this rich culture to survive. The British film and stage director underlines the economic factor of the UK as cultural »soft super power«: Here live theatre not only generates ticket revenues, but is breeding new talents for film industry. To save the »multi-faceted organism« of live theatre he provides a mixture of recipes. First off all he pleas to sustain the workforce. Above all he proposes a tax relief increased from 20 per cent to 50 per cent for the next three years. Finally, he introduces a new model for governmental support: He proposes the state to function as an »Angel« similar to a private investor co-producing new programs. So the government does not provide subsidies, but functions as public investor getting also share of the revenue in case of a successful production.
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tag Theater Sam Mendes Steuererleichterung Kulturförderung Performing Arts/ Cinema Statement
Das Eine-Milliarde-Euro-Baby
The One-Billion-Euro-Baby
by Dirk Peitz (05 Jun 2020)
Original source: Zeit
Dirk Peitz explores the question of how the crisis of culture in Germany can be described exactly and who is currently bearing the costs that arise in the cultural sector. The »latent lack of systemic relevance« could become a problem for the industry if the economic crisis becomes more severe or lasts longer than currently expected. While the approximately 1.7 million employees are currently an argument in favour of artists, cultural funding could be discontinued very quickly in times of tight budgets.
tag Monika Grütters Konjunkturpaket Kulturförderung Systemrelevanz All sections Analyse
Warum wir das Kino brauchen
Why we need the cinema
by Edgar Reitz (04 Jun 2020)
Original source: Die Zeit
In the digital age there are hardly any rooms of privacy left. Like few other places, the cinemas of today offer an offline space in which we are completely with ourselves. Despite the film experience in the community we feel here as individuals. The medium of cinema must seize this opportunity, design the spaces accordingly and network them with the other cultural offerings in a city. In this way, new event concepts can be created that make the cinema attractive again as a space for experience.
tag Kino Offline-Raum Lebendigsein Performing Arts/ Cinema Gastbeitrag
Schauspielerin Stephanie Lexer über Art ist relevant . Wie wichtig ist Kunst?
Actress Stephanie Lexer on the initiative Art is relevant . How essential is art?
by Stephanie Lexer (31 May 2020)
Original source: Nachrichten München
Art and culture are constantly present in our everyday life. Whether it is the music we listen to on the radio, the series we watch in the evening or the book we read. During the Corona crisis many of the actors felt to exist under the radar. Not only were art and culture not considered to be systemically relevant, individuals also felt that their work was not appreciated. The initiative "Art is relevant" sees this as a symptom of our time, which is reinforced by the Corona crisis. The appreciation for art and culture is declining more and more in the present. This must change! At the same time, however, the industry must also become aware that it has a decisive influence on the way society thinks and acts and thus also has the responsibility to think about what our world should look like.
The actress Stephanie Lexer is co-initiator of the initiative "Art is relevant", which, however, does not want to see itself as a pure Corona initiative, but will also be committed to the interests of art and culture beyond that. One example is the critical questioning of online offerings. Often the impression arises that the work of artists of all disciplines can be regarded as a hobby that can easily be made available online. However, this is also a profession with which one has to earn a living. Read More Read Less
The actress Stephanie Lexer is co-initiator of the initiative "Art is relevant", which, however, does not want to see itself as a pure Corona initiative, but will also be committed to the interests of art and culture beyond that. One example is the critical questioning of online offerings. Often the impression arises that the work of artists of all disciplines can be regarded as a hobby that can easily be made available online. However, this is also a profession with which one has to earn a living. Read More Read Less
tag Systemrelevanz Wertschätzung Onlineangebote Filmproduktion Stephanie Lexer Kulturförderung All sections Video-Interview
Kein »Zurück auf Los« für die Kultur
No »Go back to square one« for culture
by Gero Schließ (30 May 2020)
Original source: Deutsche Welle
Beside aviation, tourism and gastronomy, the pandemic has hit culture hardest. The cultural and creative industries are still waiting for the saving stimulus package that will compensate for the consequences and maintain the infrastructure. What is already foreseeable: the damage in the cultural sector is gigantic and it will have long-term effects. Part of the problem is the large number of employees who live on the edge of the subsistence level and have no reserves. This raises the fundamental cultural-political question of how to improve the situation after the crisis .
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tag Konjunkturpaket Mini-Jobs prekäre Lebenslage kulturelle Infrastruktur All sections Kommentar
In Zeiten der Abstandsästhetik . Theater unter Corona-Bedingungen
In times of distance aesthetics . Theatre under corona conditions
by Stefan Grund (26 May 2020)
Original source: Welt
In Hamburg, the theatres are currently not yet allowed to reopen. However, in preparation for the new season, the Deutsches Schauspielhaus and the Thalia Theater have resumed rehearsals. Here, too, the rules of hygiene are strictly observed. This has an impact on the plays, in which more distance must now be maintained between the actors. Jan Bosse, director at the Thalia Theater, understands the alienation, which he did not choose himself, as an aesthetic challenge, which produces new solutions during rehearsals. These are also understood by the audience, since everyone can understand and interpret the collective narrative Corona. As an unique experience, he considers the Corona conditions as a challenge. However, the rules of hygiene should not be set in the long run, because especially the distance on stage can quickly lead to boredom.
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tag Theater Probenbetrieb Hygieneregeln Hamburg Jan Bosse Performing Arts/ Cinema Bericht
Corona und Kultur in Berlin . Im ganz falschen Film
Corona and Culture in Berlin . In the completely wrong motion picture
by Bert Schulz (23 May 2020)
Original source: taz
What better place to enjoy culture right now than in the open air? The virus does not like summer weather, so the risk of infection outdoors is low. While cosmetic studios and shopping malls are reopening, not even the ten open-air cinemas in Berlin have a perspective on when they will be allowed to play again. The cinema operators are prepared for this: In the Friedrichshain open-air cinema, for example, not only have benches been dismantled to create space, but the operators have also set up a space-saving online booking system. This would mean that the operator would voluntarily give up around three quarters of its seats in order to protect its visitors. Only a super summer would enable him to work economically. The idea of how to play in closed houses under such conditions is sobering. It is all the more surprising that the Berlin Senate does not give the green light for open-air cinemas, thus not only helping the operators to generate income, but also giving back a small slice of culture to Berliners.
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tag Film Freiluftkino Open Air Performing Arts/ Cinema Kommentar
»Das ist eine neue Kunstgattung«
»That's a new genre«
by Christian Riethmüller (22 May 2020)
Original source: Frankfurter Allgemeine Zeitung
On Friday, May 22nd, a new format of live entertainment did celebrate its premiere in Frankfurt: With the Stage-Drive-Kulturbühne, the cultural stage at the Jahrhunderthalle has developed a format based on the drive-in cinema, which again makes a cultural program with comedy and cabaret, music, literature and film possible. The stage is supported by two LED screens, each 50 square meters in size, which make the events visible to the visitors. They sit in the parking lot, distributed over 300 vehicles, sorted according to size. The sound is transmitted to the car rad ios via a dedicated FM frequency. Tickets are sold per car. Outside of the vehicles the usual hygiene rules apply. Whether the format works, for example if a cabaret artist cannot hear the laughter of his audience, can be seen here from Friday on. Moritz Jaeschke, Managing Director of the Jahrhunderthalle, developed the new stage format in close cooperation with the Frankfurt/Rhine-Main Business Initiative, which also provides financial support for the project. The business initiative is convinced that culture should not be neglected as an important location factor in the region. The stage could also be used for other purposes such as company presentations. First of all, however, a multifaceted cultural program is planned, which can be accessed via the Jahrhunderthalle's homepage.
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tag Stage-Drive-Kulturbühne Frankfurt Wirtschaftsfaktor Performing Arts/ Cinema Bericht
Hygieneregeln . Dem Publikum stehen keine leichten Zeiten bevor
Hygiene Guidelines . The audience is not facing easy times.
by Jörg Häntzschel (19 May 2020)
Original source: Süddeutsche Zeitung
In the Süddeutsche Zeitung, Jörg Häntzschel takes a critical look at the hygiene rules that the Ministers of Culture of the federal states have drawn up together with Monika Grütters, federal Minister of State for Culture, for theaters, opera houses and concert halls. The many interventions and specifications for the operation of the theaters make it clear that even the reopening will be associated with heavy financial losses if the distance rule of 1.50 meters distance has to be implemented. In addition, not only the air conditioning technology must be adapted, but also the health of the visitors and the distance of the employees - i.e. the artistic actors on stage and during rehearsals - must be kept in mind. Only a small ray of hope remains here that the regulations are to apply to the whole of Germany and that not every federal state will introduce its own rules. But what concerns Häntzschel more than the concrete hygiene rules is the way in which artists are currently treated in political discourse. On the one hand, art is transfigured to a kind of »secular universal religion«, which is supposed to be a »therapy against loneliness, a weapon against populism and the humus of democracy«. The author sees a form of »cultural war economy« in the very detailed recommendations as to how the houses should fill the time until the resumption of play. After all, the paper shows little confidence in the creativity of the industry, which is not only given the marching orders by the ministers, but also the way to go.
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