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Director Herbert Föttinger introduced the new seasonal program and rebuked the turquoise green coalition. He demands more responsibility for her culture.
The presentation of the calendar for 2020/21 was presented as a subversive drama on Thursday at the Josefstadt Theater. Journalist seat cards, a seating arrangement currently permitted by Corona regulations. 60 people are allowed in the auditorium, which could hold ten times more. It is clear to everyone that you cannot play like this. For starters, a trailer is being made with scenes from previous performances: hugs, kisses, action, slogans: “A theater, without performances, without an audience. . . without applause. . “
You are now ready for the appearance of director Herbert Föttinger, chief playwright Matthias Asboth, and board member Günter Rhomberg. They sit on the stage at a given distance. The Interior Ministry had given permission for this “analogue press conference.” Everything is fine. You don’t want a situation like the recent one at Kleinwalsertal, says the director, and hints at the Federal Chancellor’s visit to Vorarlberg, where Sebastian Kurz fans urged him to go. Föttinger plays an ideal role: the scoffers who skillfully uncover the weaknesses of the government, the grumpy patriarch who protects his theater. Highlights: He quotes German Chancellor Merkel that the pandemic is an imposition on democracy. Then vary this sentence for this country: “This federal government is an imposition for the Austrian cultural nation.” It has no meaning and no empathy with art.
Hollow phrases in politics
Before that, I was reading high-pitched phrases from the government program that sang praises of culture. They sound hollow. The wash time was over. Half-baked products will not be accepted at the expense of art freedom. Föttinger warns of his censorship: the next step is freedom of the press and freedom of expression. In the end, he speaks directly to the Chancellor: “If theater, art and culture are worth something to you, we have to hear it from you now. Forget about your surveys and act now!
The foundation’s board clarifies the dimensions of the crisis: Banning performances has brought private theater to the brink of ruin, says Rhomberg. With its 400 employees, it is also a completely normal business operation: “You could even be held personally responsible for negligent decisions.” That is why the government expects a prospect. His motto “it costs what it is” is taken literally. Rhomberg accuses politicians of the lack of competence of their current cultural politicians.
Föttinger wants to know from the government what requirements can be expected. Now. Artists finally want to have perspectives on her again. But there is radio silence for the theater. A conversation with Vice Chancellor Kogler in April gave him hope: “Maybe it was just a comment.” Now the chancellor and the finance minister, Blümel, are challenged. “We will take strict responsibility for them.” What is needed is “a rescue umbrella to carry us safely and sustainably through this crisis.” Due to the closure since March (until then the occupation was 89 percent), the house will lose four million euros in revenue this season. Allowing just 170 visitors per performance in the fall means a loss of eight million euros per year. The subscriber system is also under threat. Föttinger demands one or two billion cultural dollars for the whole of Austria. After all, 200,000 employees would generate around six billion euros: “It must be worth it for the cultural nation of Austria.”
The letters are read by actor Michael Dangl, by authors who write dramas for Josefstadt: Peter Turrini, Daniel Kehlmann, David Schalko. And from director Claus Peymann, who is supposed to open the season on September 17 with “The German Lunch Table” by Thomas Bernhard. They are theater lovers and strict cynics with politics.
When asked if he had thought about quitting during the crisis, Föttinger says, “Quit smoking? Now it’s just getting started. I love fighting. It’s fun!”
Jelinek for the first time in Josefstadt
Incidentally, he has featured a remarkable show: six of the 14 productions are premieres: at the main house “Secret of an Unknown”, according to Stefan Zweig, “The Way Out”, based on a novel by Arthur Schnitzler, “Living and Dying in Vienna “by Thomas Arzt and A part that has not yet been repaired. For the first time, a piece by Elfriede Jelinek will be performed in Josefstadt: “Rechnitz”. There are also “The Concert” and “The Bockerer”. New to Kammerspiele: “Together Alzheimer’s is More Beautiful” by Turrini and “Die Liebe Geld” by Daniel Glattauer. “The Parisian Woman” by Beau Willimon will be released. Other pieces: “Monsieur Pierre connects”, “Die Dreigroschenoper”, “Kein Blatt’l vorm Mund” (after Gerhard Bronner).
(“Die Presse”, print edition, May 15, 2020)
