Res publica Europa: Networking the performing arts in a future Europe

Von Verlag Theater der Zeit

Quo vadis Europa? And where are the independent performing arts heading? Driven by values such as tolerance and openness, what power do the independent performing arts possess in a climate dominated by Euroscepticism? Are those values essential for Europe and if so, how can they be atrengthened? These were the questions focussed on at the IETM's Plenary Meeting Munich (International Network for Contemporary Performing Arts) which is documented in this bi-lingual book. Central to the reflexions around the role of the performing arts in Europe were the topics "Post-colonialism", "Diversity" and "Visions for the Future". Including contributions by Ulrike Guérot, Robert Menasse and Kathrin Röggla.

Quo vadis Europa? Wohin die freie Szene? Welche Tragkraft haben in einem von Euroskepsis geprägten Klima die unabhängigen darstellenden Künste, deren Arbeitsbegriff sich auf Werte wie Toleranz und Offenheit stützt? Sind diese Werte konstituierend für Europa, wie können sie gestärkt werden? Diese Fragen standen im Mittelpunkt des Treffens des International Network for Contemporary Performing Arts (IETM) in München, das in diesem zweisprachigen Buch dokumentiert wird. Im Zentrum der Reflexionen rund um die Rolle der darstellenden Kunst in Europa stehen Postkolonialismus, Diversität sowie Visionen für die Zukunft. Mit Beiträgen von Ulrike Guérot, Robert Menasse und Kathrin Röggla.

• Sprache: Deutsch
• Herausgeber: Verlag Theater der Zeit
• Erscheinungsdatum: 7. Mai 2019
• ISBN: 9783957492487

Buchvorschau

Tangerding

BEYOND THE NET

Dear independent artists and theatre makers, dear Europeans, dear networkers, it’s great that you are independent. It’s great that you are a network. It’s great that you are concerned about Europe and that you want to exchange and collaborate. Really great. But it is not enough.¹

Freely produce, co-produce, transcend national borders, conduct research, initiate innovative projects, test experimental forms of expression as individual artists, in a collective or as an ensemble with its own performance venue: the forms of working in the field of the independent performing arts are more diverse than ever. Cross-disciplinary cooperative models between protagonists from the independent scene and large institutions have also become an integral part of cultural promotion and are opening up new opportunities. The independent sector is very strongly present in public perception today and is already sometimes described as the second pillar of the German cultural landscape.

A retrospective look at the beginnings in the 1970s and 1980s shows that this development has happened very quickly. My own first theatrical experiments likewise took place in the ’70s and ’80s. As a young architecture student, I began experimenting with a few like-minded associates as La Mama Munich, with socio-political commitment, in search of new forms of theatre. This evolved in the 1980s into the Meta Theater, a building in Bauhaus style and a freelance production site. At the same time, several festival organizers met in Polverigi in 1981 and founded the first network, IETM (Informal Theatre Meeting), which is now known as the "International Network for the Contemporary Performing