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.
So werden wir die Welt nicht retten
This is not how we will save the world
by Cornelius Meister (29 Oct 2020)
Original source: Staatsoper Stuttgart
Failure of the German society is diagnosed by the General Music Director of the Stuttgart State Opera, Cornelius Meister, in his statement on the current situation in the Corona crisis. On the one hand the society did not manage to stop the virus, on the other hand it could not give the politicians any confidence that a differentiated decision would be handled responsibly. And so cultural institutions where no infections have been detected are now being taken into collective custody - worse still, they are being categorized under "leisure facilities". This blac k and white thinking is dangerous, and who if not culture could counteract it? The humanistic tradition, which Cornelius Meister advocates, means not only differentiated action on the part of politics, but at the same time a way of dealing with one another that is characterized by mindfulness. Only in this way can the physical and mental health of our fellow human beings be protected. A "cultureless November", on the other hand, will not save the world
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tag November-Lockdown gemeinsame Verantwortung schwarz-weiß Denken Freizeiteinrichtungen Kollektivhaft Performing Arts/ Cinema Statement
Bildet Banden! . Warum der zweite Lockdown für Theater und Künstler*innen wie eine Ohrfeige wirkt
Create gangs! . Why the second lockdown is like a slap in the face for theater and artists
by Georg Kasch (28 Oct 2020)
Original source: Nachtkritik
The location of the theaters is desperate. Not only is a second lockdown imposed on them, they are also classified as "entertainment«, are in a row with gyms, betting shops and brothels. And this despite the fact that the theaters behaved so exemplarily during the lockdown. With streamings they entertained their audience, developed hygiene concepts, and replanned the new season three times. And now?, asks Gerog Kasch in his commentary. The houses have to close their doors again, although even virologists do not consider this step necessary. Can the closure rea lly be justified by the fact that the audience, after the consequent separation, meets in the stalls after the performance to discuss the evening?
If culture, unlike many other branches of the economy, is now being sacrificed as a pawn, then politics should pay for the industry's continued existence. Intendants, organizers and all those involved must insist on this. An appropriate financial compensation for the houses and a kind of basic income for the solo self-employed with loss of earnings should save the industry from the crisis.
In the meantime, however, the cultural workers should not sit back and relax, but rather tackle what was neglected in the spring: joining forces with others to raise the voice for culture together. Streaming, because those who are not visible are forgotten. However, we must not make the mistake of offering everything for free; intelligent payment concepts must be developed. His final appeal is directly addressed to the theater industry: Design the theater of tomorrow! If the experiences of the last few months are productively used for a new conception, then the lockdown makes sense for the arts. Read More Read Less
If culture, unlike many other branches of the economy, is now being sacrificed as a pawn, then politics should pay for the industry's continued existence. Intendants, organizers and all those involved must insist on this. An appropriate financial compensation for the houses and a kind of basic income for the solo self-employed with loss of earnings should save the industry from the crisis.
In the meantime, however, the cultural workers should not sit back and relax, but rather tackle what was neglected in the spring: joining forces with others to raise the voice for culture together. Streaming, because those who are not visible are forgotten. However, we must not make the mistake of offering everything for free; intelligent payment concepts must be developed. His final appeal is directly addressed to the theater industry: Design the theater of tomorrow! If the experiences of the last few months are productively used for a new conception, then the lockdown makes sense for the arts. Read More Read Less
tag November-Lockdown Unterhaltung Hygienekonzepte Bestandssicherung Grundeinkommen Bauernopfer Krise als Chance Streaming Performing Arts/ Cinema Kommentar
Bayerische Theater entsetzt über neue Corona-Regeln
Bavarian theaters appalled by new corona regulations
by Christoph Leibold (22 Oct 2020)
Original source: BR24
Following the announcement last week in North Rhine-Westphalia of a limit on the number of spectators for theaters due to rising corona infections, Bavaria is now following suit. Bavarian State Premier Markus Söder announced that regardless of the size of a house, when an incidence rate of 100 infections per 100,000 inhabitants is reached, only 50 participants will be allowed to attend a cultural event.
In Bavaria's theaters, the outcry is great. Up to now, the rules of distance have been generously adhered to, and every house has a well-developed hygiene concept. In Bavaria, too, there are no infectious diseases among visitors to cultural events. Instead of recognizing this success, the new decree destroys it. Those involved in culture accuse the State Chancellery of not having gained an impression of the situation in the houses so far. Even the »representatives of the cultural scene« apparently involved in the decision could not be identified so far. No director of the large Bavarian theaters was asked to comment. So it is not surprising that the director of the Kammerspiele, Barbara Mundel, accuses the state premier of »purely symbolic politics« at the expense of the cultural institutions. For these institutions, the new decree is tantamount to a new lockdown. Another aspect that Mundel addresses should not be forgotten in the current situation: Theater and other open spaces of art offer the opportunity for exchange and reflection. This is the place to reflect on the consequences of the Corona crisis for our society. Read More Read Less
In Bavaria's theaters, the outcry is great. Up to now, the rules of distance have been generously adhered to, and every house has a well-developed hygiene concept. In Bavaria, too, there are no infectious diseases among visitors to cultural events. Instead of recognizing this success, the new decree destroys it. Those involved in culture accuse the State Chancellery of not having gained an impression of the situation in the houses so far. Even the »representatives of the cultural scene« apparently involved in the decision could not be identified so far. No director of the large Bavarian theaters was asked to comment. So it is not surprising that the director of the Kammerspiele, Barbara Mundel, accuses the state premier of »purely symbolic politics« at the expense of the cultural institutions. For these institutions, the new decree is tantamount to a new lockdown. Another aspect that Mundel addresses should not be forgotten in the current situation: Theater and other open spaces of art offer the opportunity for exchange and reflection. This is the place to reflect on the consequences of the Corona crisis for our society. Read More Read Less
tag Theater Inzidenzwert Hygieneregeln Bayern Markus Söder Performing Arts/ Cinema Bericht
»Die virtuelle Welt hilft uns leider nicht« . Star-Geigerin Anne-Sophie Mutter über Corona
»Unfortunately the virtual world does not help us at all« . Star violinist Anne-Sophie Mutter on Corona
by Anne-Sophie Mutter, Gero Schließ (20 Oct 2020)
Original source: Deutsche Welle
Already in the summer, violinist Anne-Sophie Mutter and her colleagues wrote an open letter calling for support from the society for musicians. Now she is using the Opus Klassik award to draw attention to the precarious situation of many artists in the Corona crisis. In an interview with Deutsche Welle, she once again expresses her position. She herself is doubly affected by the pandemic. Not only are most of her concerts cancelled for 2020, but in March she had to cancel her tour because she herself had fallen ill with the corona virus.
The violinist reacts with incomprehension to the current actions of politics. At concerts and cultural events, there are extremely strict rules of hygiene, while in restaurants people are allowed to celebrate without distance. The fact that this not only discriminates against a single profession, but also against a high-turnover industry and thus the entire German cultural landscape is on the verge of collapse, hurts her very much. She does not want her concerns to be understood as criticism of the work of the Minister of State for Culture, with whom she is in close contact. Rather, she hopes for new aid measures for all solo self-employed people in the cultural industry so that it can be saved through the crisis. If this does not happen, the industry must raise its voice in demonstrations.
For Mutter, there is no question that art and culture are important as sources of consolation, especially in times of crisis. To rely on streaming as self-exploitation of artists in this time is no solution for society as a whole. Even if concerts are currently taking place, the musicians usually play without a part of their fee, since they usually give two concerts each in front of a hall that is at most half full. Mutter suggests that one should follow the example from Salzburg, where with the chessboard pattern and consistent testing the festival could be carried out as usual. The gratitude of the audience, which she experienced in autumn, shows her how important music is during a crisis. Read More Read Less
The violinist reacts with incomprehension to the current actions of politics. At concerts and cultural events, there are extremely strict rules of hygiene, while in restaurants people are allowed to celebrate without distance. The fact that this not only discriminates against a single profession, but also against a high-turnover industry and thus the entire German cultural landscape is on the verge of collapse, hurts her very much. She does not want her concerns to be understood as criticism of the work of the Minister of State for Culture, with whom she is in close contact. Rather, she hopes for new aid measures for all solo self-employed people in the cultural industry so that it can be saved through the crisis. If this does not happen, the industry must raise its voice in demonstrations.
For Mutter, there is no question that art and culture are important as sources of consolation, especially in times of crisis. To rely on streaming as self-exploitation of artists in this time is no solution for society as a whole. Even if concerts are currently taking place, the musicians usually play without a part of their fee, since they usually give two concerts each in front of a hall that is at most half full. Mutter suggests that one should follow the example from Salzburg, where with the chessboard pattern and consistent testing the festival could be carried out as usual. The gratitude of the audience, which she experienced in autumn, shows her how important music is during a crisis. Read More Read Less
tag Klassik Streaming Schachbrettmuster Salzburger Festspiele Honorar Gleichbehandlung Monika Grütters Music Interview
Corona-Pandemie: »Kultur merkwürdigerweise in dieser Krise marginalisiert«
Corona Pandemic: »Culture strangely marginalized during this crisis«
by Julian Nida-Rümelin, Änne Seidel (18 Oct 2020)
Original source: Deutschlandfunk
»Aufstehn für Kultur« [stand up for culture] is an appeal for a demonstration in Munich. The goal is to address as many people interested in culture as possible and to motivate them to participate in the demonstration. The importance of this is explained by one of the initiators, political scientist, philosopher and former Minister of State for Culture Julian Nida-Rümelin, in an interview with the German radio station Deutschlandfunk.
Politics reacts to public debates. Therefore, Nida-Rümelin is convinced that it is now necessary for eve ryone interested in culture to raise their voice now. The cultural workers be only helped, if the public pressure by the cultural consumers grows. That is particularly important after seven months of stagnation, because anyone who decides to change careers now is lost to culture. This means that the unique cultural asset in Germany is permanently threatened. Even if the artists reacted very creatively to the crisis during the first lockdown, this must not obscure the existential need.
Even if politicians have tried to support cultural workers so far, it must be said that the programs that have been implemented so far are not sufficient. With regard to an unconditional basic income for artists, Nida-Rümelin explains that he considers it the task of politics to ensure that no existences are destroyed in the crisis. Anyone who has been able to live from art up to now can prove this, for example, through tax assessments. In addition to the economic and social cushioning, the former Minister of State for Culture also sees a problem in the fact that cultural life has been reduced to a minimum. If there are no cultural events and no debates, this has an impact on the constitution of society. Politicians must counteract this in order to limit the damage to immaterial values caused by the crisis as much as possible.
Nida-Rümelin does not consider a second, European lockdown to be feasible. The resulting costs cannot be mitigated a second time. The result would be a depression. In 1929 we saw what psychological, social and cultural consequences such a crisis can have. The foundations of coexistence and democracy would then be shaken. European society must prevent this danger at all costs. Read More Read Less
Politics reacts to public debates. Therefore, Nida-Rümelin is convinced that it is now necessary for eve ryone interested in culture to raise their voice now. The cultural workers be only helped, if the public pressure by the cultural consumers grows. That is particularly important after seven months of stagnation, because anyone who decides to change careers now is lost to culture. This means that the unique cultural asset in Germany is permanently threatened. Even if the artists reacted very creatively to the crisis during the first lockdown, this must not obscure the existential need.
Even if politicians have tried to support cultural workers so far, it must be said that the programs that have been implemented so far are not sufficient. With regard to an unconditional basic income for artists, Nida-Rümelin explains that he considers it the task of politics to ensure that no existences are destroyed in the crisis. Anyone who has been able to live from art up to now can prove this, for example, through tax assessments. In addition to the economic and social cushioning, the former Minister of State for Culture also sees a problem in the fact that cultural life has been reduced to a minimum. If there are no cultural events and no debates, this has an impact on the constitution of society. Politicians must counteract this in order to limit the damage to immaterial values caused by the crisis as much as possible.
Nida-Rümelin does not consider a second, European lockdown to be feasible. The resulting costs cannot be mitigated a second time. The result would be a depression. In 1929 we saw what psychological, social and cultural consequences such a crisis can have. The foundations of coexistence and democracy would then be shaken. European society must prevent this danger at all costs. Read More Read Less
tag Grundeinkommen stiller Tod Systemrelevanz Aufstehn für Kultur Lockdown 1929 Depression Kulturstaat All sections Gespräch
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
»Kurz einknicken und dann wieder aufbäumen«
»Buckle briefly and then rebel again«
by Karin Beier, Hans-Jürgen Mende (29 Sep 2020)
Original source: NDR Kultur
The month of November presents a great challenge to the psyche of the hamburger. If the November blues is also associated with a lockdown, it will be difficult to maintain optimism. Karin Beier, artistic director of the Schauspielhaus in Hamburg, reports in an interview with NDR (North German Broadcasting) that at the moment she has to take care of the inner life of her employees. Next week there was a premiere, the team members were highly motivated to work on performances and hygiene concepts over the summer - with the decision of the federal and state governments to c lose all cultural institutions in November, the disappointment is great and the air is out.
When asked about the possibility of streaming premieres and other performances, the director reacts hesitantly. The theater lives from its live character. She herself is extremely reluctant to watch recordings. One possibility that is currently being discussed at the house is live broadcasting of the performances. However, Beier doubts that the Internet connection will allow this.
The consequences of the lockdown for the cultural scene are currently not yet foreseeable. Since she runs a state-subsidized house, Beier knows that she is whining on a high level. Unlike many restaurateurs or private theaters whose existence is threatened, her house is not facing insolvency. However, she can only support the independent scene in an idealistic way. Due to the consequences of the pandemic for the public purse, she assumes that the theaters will change in the coming years. Read More Read Less
When asked about the possibility of streaming premieres and other performances, the director reacts hesitantly. The theater lives from its live character. She herself is extremely reluctant to watch recordings. One possibility that is currently being discussed at the house is live broadcasting of the performances. However, Beier doubts that the Internet connection will allow this.
The consequences of the lockdown for the cultural scene are currently not yet foreseeable. Since she runs a state-subsidized house, Beier knows that she is whining on a high level. Unlike many restaurateurs or private theaters whose existence is threatened, her house is not facing insolvency. However, she can only support the independent scene in an idealistic way. Due to the consequences of the pandemic for the public purse, she assumes that the theaters will change in the coming years. Read More Read Less
tag Theater Deutsches Schauspielhaus Hamburg November-Lockdown psychische Belastung Novemberblues Performing Arts/ Cinema 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
tag Soforthilfe Bayern Bernd Sibler Münchner Volkstheater point of no return Sitzplätze All sections Bericht
New York’s Arts Shutdown . The Economic Crisis in One Lost Weekend
by Michael Paulson, Elizabeth A. Harris, Graham Bowley (23 Sep 2020)
Original source: New York Times
This feature gives a feeling of the evaporation of the art industry in New York City illustrating the loss with abstracts of 22 (former) art workers and depressing photographs. The shutdown has touched New York in its heart: Before the pandemic, New York state’s arts and cultural sector contributed $120 billion to New York’s economy, or 7.5 percent of the state’s economic output, and employed nearly half a million people. Taxable revenue from performing arts companies fell 85 percent this spring compared to 2019. The perspectives are still dark: T he Broadway theatres remain closed at least until next spring. The Metropolitan Opera has scheduled its reopening for Fall 2021.
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tag New York Theater Tanz USA Schließungen Konzerthäuser Arbeitsplatzverlust Umsatzeinbruch Bankrott All sections Bericht
»Die Leute haben eine Sehnsucht in die Theater zurückzukehren« . Kultur in Bayern
»People have a longing to return to the theater« . culture in Bavaria
by Sara Maria Behbehani (13 Sep 2020)
Original source: Süddeutsche Zeitung
At the beginning of the new season, Sara Maria Behbehani explores at theaters in Bavaria how theater professionals are facing the opening of their houses and how the corona rules are perceived in everyday life. The joy of regaining contact with the audience and the intensive work on corona-compliant themes is common to all the theaters.
The Theater an der Rott has already hosted successful open-air events in the summer. For the indoor events, the program was completely rewritten once again - not only to implement the corona rules and incorporate them conceptually into the plays, but also to do justice to the loss of income.
At the Landestheater Niederbayern, the journalist talks to the freelance director Sarah Kohrs. She is happy that she has a new engagement and tries to bring her new play on stage as corona-conform as possible.
The lockdown at the Junge Theater Regensburg was extremely productive. Maria-Elena Hackbarth and her team tried to keep in touch with the young audience with various offers. Also the implementation of the distance rules is not considered problematic here. Family islands offer a personal atmosphere, which at the same time offers protection from infection. The lockdown will probably also play a role thematically, since the theater is starting the new season with Kafka's "Metamorphosis".
At Ingolstadt City Theater, Andrea Frohn is not allowed to open the season with a cabaret evening as planned. Since she is pregnant, she is not allowed to perform. Nevertheless, Frohn is looking forward to the new season, as the audience is incredibly grateful that it is now starting again. Read More Read Less
The Theater an der Rott has already hosted successful open-air events in the summer. For the indoor events, the program was completely rewritten once again - not only to implement the corona rules and incorporate them conceptually into the plays, but also to do justice to the loss of income.
At the Landestheater Niederbayern, the journalist talks to the freelance director Sarah Kohrs. She is happy that she has a new engagement and tries to bring her new play on stage as corona-conform as possible.
The lockdown at the Junge Theater Regensburg was extremely productive. Maria-Elena Hackbarth and her team tried to keep in touch with the young audience with various offers. Also the implementation of the distance rules is not considered problematic here. Family islands offer a personal atmosphere, which at the same time offers protection from infection. The lockdown will probably also play a role thematically, since the theater is starting the new season with Kafka's "Metamorphosis".
At Ingolstadt City Theater, Andrea Frohn is not allowed to open the season with a cabaret evening as planned. Since she is pregnant, she is not allowed to perform. Nevertheless, Frohn is looking forward to the new season, as the audience is incredibly grateful that it is now starting again. Read More Read Less
