Perhaps you've heard: the unfortunate conflict between scientists and artists is still going on. This conflict is not always such a big deal, but, perhaps you've heard, there's a deadly worldwide plague going on.
Not every scientist is in conflict with every artist. Some scientists are deeply knowledgeable about and appreciative of the arts, and some artists are deeply knowledgeable about and appreciative of science. These people -- I don't know how large a group they represent, I can only hope the group is large and growing quickly -- have grasped that neither science nor art by itself can address all human needs. They realize that art and science can compliment and help each other.
Then there are people like Frank Castorf, an idiot and perhaps Germany's most famous living theatre director. He's become even more famous in the past couple of days by publicly complaining that he doesn't like being told by Angela Merkel to wash his hands, and that he resents not being able to shop and dine out as he is accustomed to do.
And so, since he is one of Germany's most prominent representatives of art, he's causing a lot of damage. Who knows how many deaths he will be directly responsible for.
I wonder, does Castorf resent Merkel telling him what to do because she's a woman? If Germany had a male Chancellor at the moment who was passing along the advice of scientists -- that's all that Merkel is doing, of course: passing along the advice of scientists about how we can best hope to survive this epidemic, not exercising any sort of personal authority over Frank Castorf -- would Castorf enthusiastically support social distancing and masks and hand washing? I suspect he might. He might think of it as a paramilitary sort of discipline. He has some stupid macho tendencies.
Castorf is also, like Donald Trump, making this worldwide crisis all about him. He claims that before the coronavirus outbreak, young people in the theatre wanted old men in the theatre to die as soon as possible. (Castorf is 68 years old.), and that now they want to save every old man they can, even with such allegedly fascist measures as compulsory hand-washing.
No sensible person I know agrees with Castorf that young theatre people were ever wishing old men dead. I suspect the truth may be more something such as that now and then, some big-mouthed, wise-assed young people have said that they wish that Castorf would retire, and Castorf is blowing that way out of proportion and using this particularly thin excuse to wallow in self-pity, at a particularly bad time and in a particularly destructive way.
This conflict between art and science comes from artists and scientists not appreciating what the other group can do. Some scientists think that science can solve all of humanity's problems, some artists think that art can solve all of humanity's problems, and, of course, they're all mistaken. We need both.
Social distancing, masks and hand-washing will save lives. Science has told us that, and there is no doubt at all that science is correct about that. We still have a problem, though, because many people are not listening to this very simple and important message from science. Scientists know how people should best respond to a pandemic, but they don't know how to convince people to respond in the best way. Convincing people to take scientifically-sound, live-saving advice is something that artists are good at -- or, at least, something they can be good at, if they're not completely infantile self-pitying idiots.
Showing posts with label frank castorf. Show all posts
Showing posts with label frank castorf. Show all posts
Wednesday, April 29, 2020
Tuesday, July 4, 2017
The Volksbühne Berlin and Chris Dercon
I finally un-followed whats-her-name ("I'll never forget what's her-name") on Facebook, because I couldn't stand her posts protesting Chris Dercon's impending leadership of the Volksbühne Berlin any more.
Of course, she and the people who commented agreeing with her didn't put it that way: they weren't talking about Chris Dercon coming to the Volksbühne and taking over for Frank Castorf: they were talking about the end of the Volksbühne; no, the end of serious theatre in Berlin; no, the end of serious theatre, period; no, the end of the world. Besides the Facebook posts she also has attended protests outside the Volksbühne. Did she actually organize and lead these protests? I don't know. Has she worked as an actress at the Volksbühne? I'm not sure about that either.
Just in case someone doesn't know: I've never seen a performance at the Volksbühne. I've seen lots and lots of pictures of productions, and a few videoclips, and read some reviews, and read some of the plays performed there. But I've never actually been there; ergo, by definition, I don't know what I'm talking about.
My first reaction, when She Who Has Been Unfollowed began her torrent of furious posts, was that it all seemed rather overdone for what was, ironically, a rather elite affair. I was assuming a greater similarity to a theatre culture with which I am actually familiar -- big-time commercial theatre in NYC -- than there actually is. Tickets to a Broadway or Off-Broadway or even some Off-Off-Broadway shows are expensive enough to make it quite an exclusive affair. Not to mention the comps: the many tickets given absolutely free to big shots who could afford perfectly well to pay full price, because it's ab-so-lute-ly backwards.
But I figured I'd better do some research before just wading into the middle of all of that Facebook lamentation and calling them all silly elitist drama queens. And it turned out that I was wrong: tickets for the Volksbühne are much less expensive than those for a Broadway play: no ticket costs more than 40 Euros; retirees and low-income people pay about half price; and some people who qualify on the basis of need can get several tickets per season free.
My next reaction was to say that they could've taken all of the energy they'd expending being furious about something which hasn't happened yet and might be quite different than what they expect, and used it to start their own damn theatre company. And they could. But, as I continued to research the Volksbühne, I learned that, in addition to the money taken in at the box office, the state of Berlin gave the Volksbühne 184 Euros for every ticket sold in 2009, and 141 Euros for every ticket sold in 2010 (these are the latest statistics I could find). And I imagine that they get the use of that theatre building right in the middle of Berlin rent-free, too.

Okay, so, yeah, they could start their own company, but starting one like the Volksbühne might be harder than I had imagined.
So I was wrong about all of that, and drastically under-informed about how German theatre in general works, and I've never seen a production at the Volksbühne, never seen one directed by Castorf, or by Dercon. So do I still actually have a freakin' problem with the protesters?
Yes. One word which is frequently used by them when they describe the way in which Dercon is going to destroy the the Volksbühne is "international." They foresee Volksbühne productions which will be slick, safe, aimed at garnering international prizes. And no longer the distinctly Berliner theatre they love. Dercon ain't even a gosh-dang German, he's a furriner, a Belgian.
What kind of God-damned Communist objects to internationalism? Provincial Communists. That's what kind. I've never been to the Volksbühne, but I have by gosh been to Berlin, and it's magnificent, and one of the things which makes it so is its openness to the world.
The whole world.
And, and, I do believe that while some international prizes are given to slick and safe theatre productions, others aren't. So that if the Volksbühne under Dercon's leadership does win some international prizes, it won't mean that everything the protesters said was correct. Although no doubt they will claim that it does.
Of course, she and the people who commented agreeing with her didn't put it that way: they weren't talking about Chris Dercon coming to the Volksbühne and taking over for Frank Castorf: they were talking about the end of the Volksbühne; no, the end of serious theatre in Berlin; no, the end of serious theatre, period; no, the end of the world. Besides the Facebook posts she also has attended protests outside the Volksbühne. Did she actually organize and lead these protests? I don't know. Has she worked as an actress at the Volksbühne? I'm not sure about that either.
Just in case someone doesn't know: I've never seen a performance at the Volksbühne. I've seen lots and lots of pictures of productions, and a few videoclips, and read some reviews, and read some of the plays performed there. But I've never actually been there; ergo, by definition, I don't know what I'm talking about.
My first reaction, when She Who Has Been Unfollowed began her torrent of furious posts, was that it all seemed rather overdone for what was, ironically, a rather elite affair. I was assuming a greater similarity to a theatre culture with which I am actually familiar -- big-time commercial theatre in NYC -- than there actually is. Tickets to a Broadway or Off-Broadway or even some Off-Off-Broadway shows are expensive enough to make it quite an exclusive affair. Not to mention the comps: the many tickets given absolutely free to big shots who could afford perfectly well to pay full price, because it's ab-so-lute-ly backwards.
But I figured I'd better do some research before just wading into the middle of all of that Facebook lamentation and calling them all silly elitist drama queens. And it turned out that I was wrong: tickets for the Volksbühne are much less expensive than those for a Broadway play: no ticket costs more than 40 Euros; retirees and low-income people pay about half price; and some people who qualify on the basis of need can get several tickets per season free.
My next reaction was to say that they could've taken all of the energy they'd expending being furious about something which hasn't happened yet and might be quite different than what they expect, and used it to start their own damn theatre company. And they could. But, as I continued to research the Volksbühne, I learned that, in addition to the money taken in at the box office, the state of Berlin gave the Volksbühne 184 Euros for every ticket sold in 2009, and 141 Euros for every ticket sold in 2010 (these are the latest statistics I could find). And I imagine that they get the use of that theatre building right in the middle of Berlin rent-free, too.

Okay, so, yeah, they could start their own company, but starting one like the Volksbühne might be harder than I had imagined.
So I was wrong about all of that, and drastically under-informed about how German theatre in general works, and I've never seen a production at the Volksbühne, never seen one directed by Castorf, or by Dercon. So do I still actually have a freakin' problem with the protesters?
Yes. One word which is frequently used by them when they describe the way in which Dercon is going to destroy the the Volksbühne is "international." They foresee Volksbühne productions which will be slick, safe, aimed at garnering international prizes. And no longer the distinctly Berliner theatre they love. Dercon ain't even a gosh-dang German, he's a furriner, a Belgian.
What kind of God-damned Communist objects to internationalism? Provincial Communists. That's what kind. I've never been to the Volksbühne, but I have by gosh been to Berlin, and it's magnificent, and one of the things which makes it so is its openness to the world.
The whole world.
And, and, I do believe that while some international prizes are given to slick and safe theatre productions, others aren't. So that if the Volksbühne under Dercon's leadership does win some international prizes, it won't mean that everything the protesters said was correct. Although no doubt they will claim that it does.
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