Dramaturgie im zeitgen�ssischen Tanz ist ? positiv gemeint ? ein hei�es Eisen. Idealerweise sind Dramaturginnen und Dramaturgen w�hrend der Erarbeitung eines St�cks die besten Freunde der Choreografen. more
Neue Zürcher Zeitung, 16.06.2006
On the media page, Rainer Stadler discusses the eldorado of citizen
journalism, after the Netzeitung launched its new "Readers Edition" platform last week. He finds it paradoxical that
this idea is on the rise in the days of increasing specialisation and
"enlightened perplexity". "It remains highly unlikely that these
platforms will foster a completely new form of journalism, as the
'Readers Edition' pompously declares. Although various media companies
are flirting with this journalistic genre, it is not with the idea of
non-hierarchical media discourse in mind. Instead, it is an
attempt to bind the increasingly fickle customers tighter to their
sides through interactive forms and to profit from the communication
needs of the readership in the in-house channels. Interactive platforms
act primarily as repositories, as a new means to pin down what the
public wants to see reported and to avoid the blinkers which threaten
every routine-based organisation."
At the RoboCup football championship in Bremen, Manfred Weise observed a certain lack of
ball-sensitivity in the tin-footed players: "Because in the humanoid league the autonomous robots recognise the ball, the goals and their fellow players
by their colours, their image processing has to be finely tuned to the
light. This is one reason why every RoboCup entry form
provides an exact description of the lighting conditions in the hall, and
why robots are not permitted to wear the same colour as the playing
field, ball or goal. When spectators on the perimeter of the
field wear ball-coloured T-shirts, it can happen that
robots take them for the ball."
Frankfurter Allgemeine Zeitung, 16.06.2006
In the context of the Peter Handke affair (more here), Serbian author Dunja Melcic portrays the situation in Serbia today, praising the liberal heritage of Zoran Djindjic
and mentioning in passing that two witnesses who were to testify
against Djindjic's murderers have recently been killed. She notes in
alarm a return to the nationalist era of Slobodan Milosevic:
"The radicals' programme is broadly based around the desire for a
Greater Serbia – together with Kosovo and the lost bits of Croatia. A
bloodthirsty rhyme paying homage to Ratko Mladic and the
Srebrenica massacre has aroused much horror by calling for the
slaughter of Bosnians. The title is: 'Kill, Mladic; kill.' The Serbian
majority is filled with hatred for all its neighbours – including its
'brother nation' Montenegro."
Die Welt, 16.06.2006
Roger Köppel talks with Austrian actor Klaus Maria Brandauer, for whom 'Regietheater', or directors' theatre,
is nonsense: "All creative people tread on thin ice. Of course actors
can be easily unsettled by someone who's studied literature and
philosophy, for example. The actor is his own instrument, and that's no
picnic. Some don't have the intellectual underpinnings, and are easily
taken in by charlatans. Throw in a few clever critics and cultural
politicians who are perhaps also wannabe artists and you get the hodge podge
we're dealing with... Theatre today is a sort of ideologically imposed elation,
one that's often not shared by audiences. The reason's simple: with
an excellent play and ten talented actors, the director can become secondary, and some of them find that hard to take. A lot of
actors do in fact suffer under the so-called 'director's theatre', but
they wouldn't dare speak out against the trend. I mean they want to
work after all."
Frankfurter Rundschau, 16.06.2006
Christian Thomas is highly impressed by the exhibition
"The Conquest of the Street" at the Schirn Kunsthalle in Frankfurt,
which compares artistic modernity in Paris and Berlin. "Whereas
Impressionism sees big-city life as an aesthetic phenomenon,
Expressionism turns the urban stage into a battlefield, a social limbo.
In the end, on the threshold of Futurism and Cubism, the urban organism
is nothing more for the avant-garde than an abstract mechanism.
The comforts of urban modernity seem to have reached a critical mass,
and city dwellers were not just energised by technical inventions like
electricity. A painting by Carl Saltzmann from 1884 celebrated the electric arc lamp as a civilisational gain allowing people to read the paper even at night. Thirty years later someone like George Grosz shows how big-city lights merely reveal the grimaces of an all-embracing social prostitution."