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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Süddeutsche Zeitung, 15.11.2005
The riots in the banlieues are neither a French phenomenon nor
have they anything to do with unemployment, poverty or immigration,
says sociologist Ulrich Beck. Far more, globalisation is
creating ever more people everywhere who are superfluous. And it is
certainly not a question of a lack of integration. On the contrary.
"These assimilated youths whose parents were immigrants scarcely differ
in their desires and attitudes from their peers in their country of
immigration. They are closely affiliated. And this is precisely what
makes the racism of their exclusion so terribly bitter for
these very heterogenous youth groups, and so scandalous for everyone
else. The paradox is this: a lack of integration in the parent
generation defuses, and successful integration of the second generation
intensifies the problems and conflicts."
See our feature "The big lie", by Ulrich Beck.
Die Welt, 15.11.2005
In view of the nightly rioting in France, Hans-Christoph Buch turns his attention to the "social romantic transfiguration of the criminals" by a well-meaning German media, with its undertones of "clandestine schadenfreude and embarrassing self-righteousness": "Until recently, German experts were envious of what they perceived to be a successful integration model
in France which, independent of background, race or religion was based
solely on citizenship or more precisely on freedom, equality and
fraternity, the fundamental values of the secular republic.... France
was a country of immigration that offered political asylum and in which
a cultural symbiosis took place the likes of which could only be dreamed of this side of the Rhine."
In an interview with Uta Baier, Irina Antonova, curator at Moskow's Pushkin Museum, uses a comparison to elucidate her plans for art looted by
the Soviets from postwar Germany: "Three
quarters of all the Italian art in the Louvre came to Paris with Napoleon.
We all know this, yet the works remain in the Louvre. I know the place
where Veronese's large painting used to hang in the monastery of
Vicenza. Now it's in the Louvre where it will stay. It's the same with
the Elgin Marbles in London. That's just the way it is."
Frankfurter Allgemeine Zeitung, 15.11.2005
A lot of tonal music is stupid, and a lot of prejudice about atonal music is even more stupid, writes Eleonore Büning. Yet now one of the most recalcitrant of his generation, composer Mathias Spahlinger, has come back to tonal music with "farben der frühe", (colours of the early hours), a work for seven pianos that premiered this weekend in the Theaterhaus in Stuttgart. Büning is thrilled: "Spahlinger's latest work has neither dumb major nor banal minor chords. Yet on hearing 'farben der frühe' you can't help but recognise all kinds of familiar forms, patterns and rhythms reminiscent of tonality: here an antecedent, there a reprise, here a pedal point. The composition weaves its way forward in interrupted spurts, a sort of waltz, a kind of swing, a type of cadence with a real coda. No sooner is it there than it is gone again. Like the aenemic-coloured shadows of dear old ghosts, it whisks by and has vanished."
Berliner Zeitung, 15.11.2005
On the occasion of a concert tonight by countertenor Andreas Scholl in Berlin's Konzerthaus, Wolfgang Furhmann puts right the poplular and painful myths about castrati mechanics: "Contrary to popular belief, it was not necessary to cut off or pound the testicles of a castrato – it was enough to tie up or cut the spermatic duct. This had to be done during puberty, because testosterone has an effect on the growth of the larynx and causes the voice to break. The castrati – who in the period between the late 16th and the early 19th century were euphemistically called virtuosi or soprani – retained the high voice of a boy and extended their range into deeper registers."
Der Tagesspiegel, 15.11.2005
In an interview with Julian Hanich about their new film "L'enfant" which won the golden palm at Cannes, Belgian directors Jean-Pierre and Luc Dardenne
admit with a refreshing candidness that sometimes they simply have no
intentions. "Of course the viewer can discover symbolism. It's left up
to them. For example in the film there is a child's buggy. For us it's just a prop but it is possible to read it as a metaphor. This is a classical problem with realism. The recipient will continue to discover metaphors and symbols even when the artist doesn't want any."
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