From how many opera visits are allowed to do cultural policy? In an interview with TIME scolded Claus Peymann last week at the Berlin Culture Secretary Tim Renner. A reply in their own right
The Berlin Culture Secretary Tim Renner | © Daniel Naupold / dpa
First of all, for the record, and in all due soon: Claus Peymann is a successful director and a mighty spirit. Strong opinion he’s promoting his idea of theater and knows it well, to gain with verbal rudeness hearing. That he roars off and on, the fact is due, he’s a top dog. So he refers to himself at least.
Whether you want to join in, everyone likes to decide for themselves. My preferred form of conflict, it is certainly not, and my understanding of culture is also less of some battling top dogs on the city’s stages, but rather a diverse, but collaborative Berlin’s cultural landscape.
So far, so normal so Peymann. Must intervene to get there, where rumors be translated to the facts and the truth for the type of Claus Peymann statement is bent. The assertion that the Governing Mayor of Berlin was the first time in the opera at the premiere of Der Freischütz on 18 January this year, for example, is demonstrably untrue and quite indecent, but it established as a deliberate assertion quite enlightening.
Even if Michael Müller, who is also the cultural department next to the post of prime minister, really an opera had first seen from within only three months ago, exactly where, pray tell, would be the problem? Theater (almost 20 percent of the cultural budget) and operas are however important even only parts of the portfolio of culture Senators, which also includes the visual arts, dance, music, memorial culture, museums, religion and many others are. Has anyone asked when Michael Müller was the last time in the church, what he hears music or how many and which hang pictures at his home on the wall? Conversely, from the number of the opera, we must because
The job as senator for culture or culture secretary of state also no denying alone: Politicians A whole team of seasoned culture professionals accompanied us in the office every day here, and the deputies are as legislator both clients as well as corrective of our actions, because we are their executive. The culture senator and his Secretary of State looking and that no directors and not staged. In order to do their job, they need not have studied theater arts, but good advice from their homes, make sure that the director in charge of them have the necessary skills.
It is important to understand in our activities and communicate the importance of culture for its stakeholders, society and the future of the entire city. It is not just a single “armored cruiser of the working class”, of which Peymann talks, but a total of working and production conditions in the creative Berlin. In addition to scientific culture here is our only opportunity for growth and social cohesion. She needs the resources we have to fight again in tough budget negotiations in the consolidated state of Berlin.
In a town that still needs to reduce about 60 billion euros of debt, it is important to convey that expenditure in culture subsidies but investment. This can only be achieved in the field of theater, if one is relevant to many people and equity issues. Relevance not achieved the theater but by one opens old divisions between so-called educated classes and socialized with people pop culture as it tries Claus Peymann between and do to me. It’s no longer about that one cultural form E is as serious and the other U as entertaining. Both discriminated against because of course makes e-culture and fun, can be very serious as well as underground culture.
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