In many cases, theatre today sees itself as an autonomous art that is not primarily subject to the interpretation of the work. Even music theatre work is often not preceded by a finished score or text. Theatre rehearsals begin with an open-ended approach, serving the process of a joint development of musical, textual and scenic material, which only takes on its final form as the work progresses. To support appropriate process-oriented work, the feXm offers its project teams the option of dividing their work into different rehearsal phases. Each team chooses its own path.
Konrad Kästner’s research project “Das Material” was to have its premiere in Bielefeld last Friday. Until the rehearsals were cancelled and the cancellation, which, like many others, affected this theatre project, they were occupied with the miraculous self-reproduction of money in financial capitalism. In order to find out the secret, Kästner and his team gambled in the casino of financial bets and risk transactions – the stake, piled up from personal pockets, consisted of 100 Euros.
“It can’t be long before this collapses”, Kästner said, shaking his head, while still at the “Chaosmos” construction trial in Bremen (see blog entry of 29.01.) and meant less the profit he and his team had made until then than the financial system that made it possible.
However, pushed by a few bats in China, things went faster than expected and Johannes Kreidler’s composition “Charts Music” (the version by Ensemble Mosaik is recommended on YouTube), in which he – also a feXm artist by the way – musically set the general decline of the stock market against the simultaneous profits of Heckler & Koch in 2008, has found new relevance.
Not surprisingly, today there are also those who make money from this. Timo Klinger, twenty-four, from Sandhausen near Heidelberg, who until three months ago sold carnival articles – one could say that he worked in the cultural sector in the broadest sense of the word -, courageously changed his previous field of activity and secured several thousand breathing masks from China in January. By selling them on the net at thirty times the price he had previously sold them, he became a millionaire within twenty-four hours. Bridgewater Associates, on the other hand, hardly counts among the field of up-and-coming start-ups. As the world’s largest hedge fund, the company bet 14 billion dollars on the money market last week on the demise of Europe’s largest companies. But the manufacturers of toilet paper should not rejoice too soon. Their new products will pile up on the shelves for months if everyday life (will it?) should have returned to halfway normal at some point.
But what does a theatre director (Konrad Kästner) do, who has nothing more to do, since the theatre world has gotten into the greatest possible disorder?
He shifts to the compulsive substitution of order in his own rented apartment. For each of the three cancelled “Chaosmos” performances in Halle, the team wants to provide a small cinematic equivalent, this is the second and the link to it can be found → here.
Display of a Halle pharmacy between the market square and the opera house: heads of twelve pretty mannequins present models of masks available here. Depending on the lifestyle concept and state of depression, there is a choice between cheerful colours that reflect the season and muted colours that reflect the current attitude to life. None of them yet bears the label Dior or Hugo Boss.
A laughing and a crying mask serve as symbols of the dramatic arts. A world upside down – not on stage but in the auditorium the mask will now experience its theatre renaissance.
Is that Florian Lutz there in some distance? As intended – everything looks a bit like a badly sold performance – the participants of the “Kitesh” rehearsal sit spread out over the half-dark auditorium, only the hairstyles above the masks give an idea of who is which. Names are called into the room, arms stretch out for recognition. Walkie-talkie of the technical director from the stalls while testing the angle of vision from the second tier: “How many are you up there?” – “Fifteen!” – “One downstairs, please. The rest of you, spread out.”
Everything is still so far from the ground that it’s hard to remember the situation of the day before yesterday, all planning for tomorrow is in the shadows. In order to be able to interact directly with the audience, the “Hauen und Stechen” team was still struggling with Bremen and Halle to limit the number of spectators – both houses (see blog entry from 06.04.) held on to the number of two hundred people. Due to the distance regulations, nobody expects more than one hundred to be allowed now. But the problem for “Kitesh” has hardly been solved: theatre that focuses on proximity to the audience will remain impossible for the foreseeable future. The deadline was too tight for “Hauen und Stechen” to be able to react to the new theatre situation. The rehearsal of the building on this day will therefore inevitably remain oriented towards a performance concept that does its calculations without Corona. A Skype appointment in the coming week will then deal with ways to adapt it.
Students of drama studies will at some point look at how we (and that doesn’t just mean the feXm, of course) tried to rock the theatre through this strange time. We will then be able to foresee what traces and changes it left in it, how it changed and possibly renewed itself, which of its earlier ways and methods remained obsolete afterwards. One will know what remained of him, how much of him remained, who remained of him.
Marc Sinan already posted it on Facebook last week: “Unfortunately, it is sadly certain that even ‘Chaosmos’ can no longer take place this season at Theater Bremen due to Corona. “It is already foreseeable that the German Language Society will declare this expression as their “Word of the Year” due to corona.
For “Chaosmos” this does not mean a premature end. Whoever takes part in the NOperas! program is prepared to understand that a project status achieved in each case is the starting point for further development. Inevitably, this further development also leads “Chaosmos” into the digital world. A stroke of luck remains: Unlike the many who have to earn their spurs in this field, this team is as at home here as on the theatre stage anyway.
Thoughts have been pondered and methods have been explored since January to find ways in which a theatre audience could become even more involved in the events on stage. Admittedly, all that was definitely a waste of time. However, the digital product is now also to become interactive in orientation to the original basic idea. The feXm has also held on to the fact that the theatre, where it doesn’t have to be, is not completely sacrificed to the home show on the PC, i.e. that on the basis of filmed material in Bremen and Halle there can still be forms of a performance in which singers are involved.
The will not to let the corona get you down is demonstrated by the clips that Konrad Kästner has posted on an interim basis in social media and (under the menu item “Media“) on the NOperas! website. His last one, recorded in the empty Halle opera house, was quite spooky, though, and seems a bit like a remake of Spielberg’s “Close Enconunters of the Third Kind”.
The course for “Kitesh” has hardly been set in a similar way. Although every state is currently following different rules, at least everything points to the fact that all theatres will be able to play again in October. But what will the conditions be? “Kitesh” won over the feXm jury with the idea of leading the audience through different stations of a common course one after the other. According to an adapted idea, these stations could be played simultaneously, with visitors divided into small groups. If, on the one hand, it can be assumed that even with such an adaptation there is no way around a considerable limitation of the total number of spectators, on the other hand, the number of participants will increase considerably, since now it is necessary to play everywhere at the same time. This remains an unsolved problem for the participating houses and for the budget managed by the group.
Not only wearing masks and washing our hands keeps us alive. It is part of the necessary mental hygiene not only to think manically about rescuing those in danger, but also to have the courage to plan something new despite everything. Last Monday, the feXm jury set the course for 2021 via an Internet conference, and NOPeras! will then enter its third round.
Finally, all website information for this call for entries was now also available in English. There is a clear increase in applications from other European countries. For the first time this year, the call for applications was also widely distributed among migrant and post-migrant cultural associations. But hardly any effect can be seen when looking through the applications. Is the idea of a music theatre, which, according to the wording of the call for applications, “in the field of a performative understanding of theatre, a questioning of the relationship between musical sound and space, language, theatre action and digital media”, possibly limited in its scope to certain circles?
Thirty-three teams have applied. Once again, it was extremely difficult to break down their applications to five finalists who were to be invited to an in-depth discussion. As the applications show, music theatre as a contemporary art form that goes far beyond opera is full of new and lively impulses. The feXm alone is hardly sufficient to provide the support it actually needs and deserves.
Does anyone remember the time when cinema was still produced mainly for the screen? After the recording process of the Cinemascope, the even wider “Cinerama” had been developed in the early 1950s. The idea behind these formats was to create a feeling of width. Inevitably, however, they were then drawn into the newer medium of television, where they created a rather claustrophobic feeling of unease: stagecoaches or Roman chariots – tiny, they chased along within a narrow strip of film surrounded by black bars.
Back in the days of Cinemascope, we seemed to be these days, since interpersonal relationships are only disembodied via the zeros and ones of digital communication, when the »Kitesh« stage set is given in Halle. And there, too, it was now, behind the scenes, mainly about questions of format.
Almost always over the past hundred years, the theatre’s developmental thrusts have taken their starting point in the intimate setting of smaller venues. Only here, where the actor and the theatregoer come close to each other in a small audience and a vibrant field of conflict between the real and the fictional arises, could – and perhaps had to – create a new aesthetic that, with the sophistication of illusion theatre, also pushed the separation of the spheres between artist and audience overboard, bringing the visitor into the play and understanding him or her as a participant.
But what happens when such a theatrical approach, as it remains decisive for Hauen und Stechen, encounters the machinery of the municipal theatre, whose architecture alone is already oriented towards a contrary idea and whose directors, halfway understandable, are still measured by their employers in terms of capacity utilisation payments?
For this reason, the houses of Halle, Wuppertal and Bremen still insist on two hundred visitors per performance at “Kitesh” – and that is quite a compromise. But it’s difficult for Hauen und Stechen to make the theatre under these conditions with which they have made a name for themselves as a group.
That’s why “Kitesh” still has the houses of Halle, Wuppertal and Bremen insisting on two hundred visitors per performance, and that’s a compromise in itself. But it’s difficult for them to make the kind of theatre under these conditions with which they have made a name for themselves as a group.
No more typical feXm conflict could be imagined. Two systems that have so far been incompatible, analogous to those used in the early days of cinema and television, collide here. As in the case of the film and monitor format (one less wide today, the other wider than before), city theatres on the one hand, and free scenes on the other, will be forced to take new paths, but this should not be a separation that fixes both on outdated patterns.
However, anyone who, thanks to all the current screening of historical performances and video transmissions from deserted auditoriums, follows the theatre of these days on their PC will learn that the stage here is like Peter Schlemihl, who sold his shadow. With rapid changes in location and the alternation of close-up and distant perspectives, film has become an art form in its own right, one that still has little in common with theatre. Unintentionally, all the compensatory performances with which the stages try to keep their audiences in line reflect above all the untransferability of the theatrical experience into the digital world and thus the full depth of the momentary loss. Not only must the speech and action of even the best stage performer appear hollow and exaggerated when they appear in a foreign medium. In reaction to the language of film, theatre also had to reflect on what it has ahead of film. The concept of the separation of audience and actor belongs to film today. However, no other art is so beaten by social distancing as that of theatre.
When will we play again? – It is difficult for theatre management teams to make halfway reliable plans as long as it is still unclear. Whenever “Chaosmos” takes place in Halle then, some might have studied their games for free. It’s hardly guaranteed that the original cast will remain.
That’s why you now have to let it melt in your mouth:
Robert Sellier, who studied the tenor part for Halle, did not put the notes aside even after the rehearsals were broken off. He continued rehearsing at home on his own. And he has sent a clip which, with its corona version of a complete aria by Marc Sinan, also includes the discovery of another musical theatre talent. We post this as a world premiere today, for which the “Chaosmos” premiere in Halle was announced. Whoever misses this clip is to blame. Here is the →LINK.
It was to be expected after a few days: Cancelled, the rehearsals for “Chaosmos” in Halle. Like a hundred others, this premiere will not take place at the estimated time. Nevertheless, the wheel does not stand still at the theatres, even if their doors remain closed. Neither does the feXm.
Together with the production team, feXm and Oper Halle are looking for alternative dates for “Chaosmos”. Instead, the date has not changed, only the communication channel for handing in and discussing the stage designs for “Kitesh” – after all, internet conferences make it possible to look everyone in the face at the same time.
Whatever you move, you are still currently maneuvering on uncertain ground, and within an overall plan, every move involves a chain of subsequent shifts. That’s why the people in Halle are now thinking about ways to keep the date of the construction test for “Kitesh”. If feasible, it should be supervised by a minimal staff of stage technicians. The rest of the people involved could then be connected to the internet, the safest place to be at the moment.
During all this, the third tender for NOperas! has come to an end. Almost by default, a “Stay healthy” in the letters of application replaces the warm greetings of an earlier era. Either way, the plan remains that nothing should delay the evaluation of the applications.
When “Chaosmos” began to take shape months ago, who would have thought what food a reflection on systems of order would soon find. What went on in Wuppertal in January seems more topical than it was then and at the same time has to face new interpretations. The idea of the collapse of all systems has lost its remotely fictional character. Hardly any more comes across as a vision of liberation. “Chaosmos” deliberately leaves in limbo the question of whether criticism of systems of order should be directed at particular systems of their own kind or whether systems of order have always been systems of suppression in themselves, and thus fundamentally to be fought against, as is the standardized opinion of more recent fields of study that bear the word “post” as a prefix. Two months after Wuppertal, we now have a clearer idea of what can be meant by the word chaos, and we want nothing more than order.
Will a worse order emerge from the former one, one in which we soon get used to state rule? A better one sees a Dominican coming on the radio yesterday. He said that we were running too fast and too breathlessly after things. Finally the chance to find peace, to reflect on the real thing, as he says. But is there anything more real for the many solo freelancers in the independent scene at this moment than their concern not to make ends meet? What will happen with the funding that artists qualified for in the context of “NOperas!” and on which they rely for the lives of their families, should it really turn out that in the end many things will have to be cancelled and that in the long run postponements will lead to a backlog of new commissions? At the moment of the threat, the country seems to become more aware of what it possesses in those who are beyond the economic exploitation chain and provide it with culture. Even the feXm would not leave its artists alone.
Translated with www.DeepL.com/Translator (free version)
Three days ago, concept rehearsal of “Chaosmos” in Halle: animated discussions that lead deep into the subject matter of the project – one rarely encounters such a precise interest in content on the part of the participants in the opera world. It was only three days ago and suddenly many things are in question. Corona has Germany under control. Theatres and cinemas in Berlin have been closed. Halle closed schools and children’s day-care centres today. And since noon it has been clear: there will be no opera performances until 27 March. Nobody knows what will happen after that. Three performances of “Chaosmos” are scheduled for Halle, two in April, one in May. Will they take place? The rehearsal work continues …
The opera sets clear rules for the relationship between sound, language and visual events. Anyone who ventures into newer forms of music theatre, on the other hand, who starts from scratch, must first negotiate the most basic principles for himself anew. E-mails and telephone calls within the “Chaosmos” team still revolve around this topic. None of the art levels should be “obedient servant” anymore, for Marc Sinan the optimum has not yet been reached in Wuppertal, he wishes for thinning of the material and less overlapping of the information levels.
Like on the Wupper in January: NOperas! summit meeting now on the Saale. Composers and musical directors of two production teams cross paths in front of neighbouring rehearsal stages – for “Chaosmos” vocal rehearsals begin; for “Kitesh” it is a matter of preliminary coordination with singers in the complex process of the piece development that has begun.
Dull feeling of both teams on arrival, still the press reports about internal quarrels in Halle. However, both projects are then met with enthusiastic commitment. It is nothing new for this ensemble to try out the unusual.
An essential moment for the work of the feXm: the meeting of different horizons of experience – Andreas Fischer was engaged in Halle for the bass part of “Chaosmos”, he is a founding member of the Neue Vocalsolisten, and he brings to the quartet his rich experience in dealing with contemporary music.
This day will be a par force ride for the sopranos Anke Berndt and Yulia Sokolik, who are involved in both productions. Alexander Chernyshkov leads improvisations in order to get to know them in detail as vocal performers and then tailors his compositions to their individual needs. Roman Lemberg is also involved in the composition of “Kitesh”. Anyone hoping for a clear structure of the conventional distribution of tasks would have to despair even more when Lemberg explains the way H&S works: “That the vocal ensemble is also in demand when selecting musical material. That there is hardly anything like main and supporting roles at H&S. That the vocal parts will be clearly divided, but not beyond that the roles. That it must first be established who is playing which character at which moment … NOperas! has fallen in at the Saale.
It has now been running for a fortnight – the third call for projects. New applicants have one month left.
The basic idea of NOperas! is that three theatres join forces for three seasons to do pioneering work together. But only two will be involved in the third season. Under Florian Lutz, the Halle Opera House has become one of the leading opera houses – but the supervisory board, which decides on the welfare of the theatre on the Saale, did not extend its contract. The city of Kassel, which immediately grabbed Lutz as the new director, perhaps even Lutz himself, who will now run a state theatre, can be pleased, but not unfortunately the Experimental Music Theatre Fund – Lutz’s non-renewal shortens Halle’s ties to “NOperas!”
“Chaosmos” takes place in Bremen at the Schauspielhaus. As Eyleen König’s model shows: From the Wuppertal spatial stage situation, only a single row of spectators would remain here on the left and right. Anyone sitting there would have the feeling of sitting on the stage themselves. So it would be better to return to the usual here, to put the whole audience on one common side. On an extended slope, the boxes of the “logistics center” will therefore come rattling from far across the entire audience area.