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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Frankfurter Allgemeine Zeitung, 06.10.2005
In an article on the transit zone of the Mediterranean, through
which so many illegal immigrants force their way into our poor
beleaguered Europe, Dirk Schümer makes a few conservative observations
on a possible Turkish EU entry. "Venetian, Neopolitan and Papal ships
fought the Turks for centuries in the Adriatic around the coast of
Sicily. If this constituted an outstanding contribution to the
formation of Europe, then it was plainly as an opposition to all things anti-European. To declare the Turks as potential Europeans overnight
makes as much historical sense as branding cigarettes as cough sweets."
Der Standard, 06.10.2005
"Europe is deeply
divided in terms of language, culture, history and mythology, and the only relationship which can be produced is an economic
one," rages the Dutch writer Leon de Winter in a sweeping attack on the
EU, Turkish entry and despairing technocrats. "You only have to
look at the fate of European film. It just doesn't exist. French films,
for example, have no success in my home country, Holland, because we
simply don't understand what the French do; we don't understand
their humour, their forms of expression. French films seem to come from
another planet, yet we have no problem identifying with Hollywood
films and they come from another continent."
Süddeutsche Zeitung, 06.10.2005
"All parties in Turkey are now focussed on Europe," comments author Orhan Pamuk in an interview with Christiane Schlötzer and Thomas Steinfeld on the decision to start EU entry talks
with Turkey. Pamuk has all along been a very vocal advocate of Turkish entry. It is, he says, "just like the
altered, constructive interest in Turkey you find in Europe. Within Turkey the
conditions are now set and no-one, not even the most radical
fundamentalist, would want to risk running the Turkish stock exchange
into the ground or devaluing the Lira. There are now no other alternatives."
Die Zeit, 06.10.2005
On October 15 in Berlin, the Lettre Ulysses Award for the art of
reportage will be awarded for the third time. Jury member and reporter
Isabel Hilton talks to Susanne Mayer about her work on the jury
and what constitutes reportage. "What makes the work on this
international jury so interesting is that the suggestions of the
other members in no way reflect the criteria that I,
as a British woman, am used to. I'm taking part for the third time and
each time we end in a discussion of what reportage is. (...) My working
definition is this: that the literary imagination unites with the discipline
of research and reporting. You invent nothing. But you raise
description through the means of literature to a level beyond that
of mere depiction. A good novel about war will remain longer in the
memory than a simple war report. Why? Because literature encroaches
into the core of human existence. A good reportage can do the same:
lead to a profound understanding of our very being."
Communications expert Siegfried Weischenberg has decided to scientifically describe the reality of German journalism. Based on a study, he says: "the nervous Berlin air, the red lights of the TV cameras have spawned a pseudo-elite which, with its power-crazed opinion mongering, is contributing to the degeneration of political communication into a corner shop of opportunists."
Frankfurter Rundschau, 06.10.2005
Regensburg author Eva Demski sticks up for Germany's oldest stone bridge: "people always believed this bridge was indestructable, this 330 metre bridge with its 16 arches,
which runs over water and land and confidently ignores right angles
and symmetry. The bridge has the form of a flat, scalene circumflex.
Its zenith is not in the middle and the little man that overlooks and
crowns the structure looks like he's been happy for hundreds of years.
The bridge looks over to the cathedral and taunts its master builder.
It is said that it was only with Satan's help that the bridge was finished before the cathedral." For more than 800 years the bridge has held out. But now the damage is clear: "at arch number 12, which spans the Jahn Island and the head of the river Danube, there is a walloping great crack"
caused above all from the traffic the bridge carries. What is needed,
Demski says, is "a solution, which won't butcher the landscape with Teutonic thoroughness".
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