Dramaturgie im zeitgenössischen Tanz ist ? positiv gemeint ? ein heißes Eisen. Idealerweise sind Dramaturginnen und Dramaturgen während der Erarbeitung eines Stücks die besten Freunde der Choreografen.
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Neue Zürcher Zeitung 03.07.2007
Roman Bucheli witnessed a memorable scene at a reading by Robert Menasse
in Leukerbad in Switzerland. The author read a short story "about a
Jewish family who survived war and famine in 1944/45 by hiding in the
monkey house in the Amsterdam zoo." No, Bucheli relates,
"Menasse doesn't tell the story itself, but he does tell how the story
is continually repeated in the family, and how with each repetition it
gradually becomes a caricature of itself. And now, when the grandfather
dies, it becomes a parody of the tragedy it presents in a farcical way.
The audience laughed along, hardly noticing how an abyss was opening up
behind the humorous presentation - until at the end the author,
overwhelmed, broke down in tears."
Frankfurter Rundschau 03.07.2007
Jürgen Otten was at Peter Konwitschny's staging of the operetta "Land of Smile" at the Komische Oper in Berlin. Everything begins well. "A party in Viennese society, with monocles and mistresses,
champagne and innuendos. The stage, designed by Jörg Kossdorf, is like
an architect's office or museum, showing the insignia of the fair city
of Vienna, the Stephansdom, the State Opera, the Prater Ferris wheel, a few
busts and cherubim, things like that. Dresses rustle, people chat, the
decolletes are delicious, as is only fitting. But before long the
chandelier comes crashing to the ground and the brass instruments in
the orchestra pit give a dissonant burst."
Süddeutsche Zeitung 03.07.2007
Art theorist Beat Wyss cheerfully nails the coffin lid on his profession and declares, to coincide with documenta, the end of art theory.
"Business is booming like never before – although – or rather,
precisely because it is no longer dependent on theoretical
substantiation. Art has learned to run like Zarathustra, and it
doesn't want to be pushed around any more – least of all by the writing
profession. The only regulating factor for the creation of form is the
market, which sets the buzz words and bench marks. Questions of style
and political theory are both out the window. It's WalMart now and price is everything.
And parties. And who was there – precisely the bits of news that don't
make it into the art magazines, where with their subscriber base of
6,000 or so faithful and appropriately educated subscribers, the fight
for survival is on. The new school of art magazine is Vanity Fair, Gala, Hello."
Frankfurter Allgemeine Zeitung 03.07.2007
In a long article, Florian Henckel von Donnersmarck ("The Lives of Others") explains why he wants Scientologist Tom Cruise to play the man who tried to blow up Hitler, Claus Schenk Count von Stauffenberg
in the film he's currently making. "Perhaps we simply have to accept
that none of us are gods, neither Stauffenberg, nor Tom Cruise, nor L.
Ron Hubbard, nor any of us. No one will be healed by the German character,
nor by the American one. The truth is that every individual can only be
healed by and for himself, and life remains a search for the inner truth.
And Stauffenberg epitomises this search. What I want from the state is
a secure framework within which this search can take place. Yet on the
issue of Tom Cruise and Stauffenberg, the German state has stepped in
again, as if it had all the answers." (His comment refers to his being
refused permission to film in the Bendler Block
where von Stauffenberg cooked up his plot and which today houses the
German Resistance Memorial Centre and belongs to the Ministry of
Defence.)
Die Tageszeitung 03.07.2007
The nine-day poetry extravaganza poesiefestival 2007 came to an end on Sunday. Andreas Resch is delighted at how poetry has forged a new identify for itself in the digital world, and at its ability to delight a mass audience
when combined with performance elements: "It's long been clear at the
festival that verse is a real crowd pleaser when it gets together with
music or other media. So it's no surprise that the 'e-poesie' concert
on Thursday was completely sold out. Especially interesting in such
hybrid forms is, similarly to digital poetry, the game with
oppositional movements and voices. In the sound composition
'Skubriocha', Valeri Scherstjanoi's verbal acrobatics blended with the crackling sounds produced by Dutch composer David Kiers.
At times they came together in an illuminating dialogue, at others they
amplified and intensified each other, sounding sometimes like a mix
between Kurt Schwitters' 'primordial sonata' and the voice experiments
of a Mike Patton."
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