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Open letter to Frank Castorf
According to Castorf's badist statements, Simone Dede Ayivi signed him the open letter.
The former director of the Volksbühne: for some a genius, for others a badist dpa
The former Volksbühnenintendant and old director Frank Castorf is of the opinion that women can not lead, at least not as well as men, as he says anyway in an interview with Christine Dössel in the Süddeutsche Zeitung [Etilsnewouldnotplayfootballsthatmakessthistoryofdifferenceandnotchishlynotfootballfootball
The fact that Castorf does not care about women's football can not be a factor in football.In the theater, however, it is different he has been an important decision maker for decades and his voice will continue to go therefore his badist statements are not without response, though we want to be able to ignore his inscribed worldview and this boring provocation.
An open letter from the playwright Felizitas Stilleke, published Wednesday welt.de is published, finds more than 600 signatories. No wonder, because it's pretty much more than a man in a newspaper said something badist. What he says is indicative of the structures in which theater is created and to whom a platform is offered there. No matter how big shit he talks about
These are locked power structures and an image of genius that allows mostly men to scream and humiliate during rehearsals. It is thus that art is created, which is in any case intended only for an illusory circle of connoisseurs, who always turn around. This theater is not inclusive, not strange, not diversified. In this theater, the art of women, blacks, people of color and other marginalized has no place.
There are mostly dead poets and thinkers reinterpreted on many occasions. New – but still motivated by the love of the old and who criticizes this, just did not understand it – so the usual arrogant defense of Castorf et al. Men can also afford this arrogance: no open discrimination has ever had professional consequences.
Not all Castorf
At this time, the balance of power is still so scattered that many others must fear for their orders. who opposes this model. Criticism is ridiculed: rejected as non-artistic and hostile to lust.
Simone Dede Ayivi studied the sciences of culture and wrote her thesis on "The (autonomous representation) in the German theater". Today, the artist lives in Berlin, writes texts and plays. More information on: www.simonededeayivi.com
Asked about #MeToo's change of consciousness, Castorf badumes that fantasy and eroticism are now considered unsavory and wonders if we want to banish bad painting in the near future. He could quickly discover the difference between eroticism and female contempt, but he probably does not care as much as women's football.
With all the enthusiasm surrounding Castorf's remarks, we must not forget that many theatrical creators have been very different in tonal strokes. Especially young colleagues shake up the existing conditions to break with the Theatertradtition of Arschlochhaftigkeit genius. Initiatives such as Bühnenwatch, the Alliance of Critical Cultural Practitioners or the Solidarity Initiative in Theater have long drawn attention to discrimination and exclusion from cultural life. Poor working conditions and abuse of power are also increasingly being addressed. Solidarity working methods are developed and new aesthetics are designed
We now have the choice: listen to people like Castorf or appreciate that there is a broad movement that, despite all the obstacles, opens the theater with joy and pbadion. For the benefit of artists and the public. What's going on here is really interesting. More interesting than many men's football matches and all the interviews of Frank Castorf.
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