Chez Company continues and wants more – more conversational sprints about the love of theatre and how it would also have a future.
We get out and about in the new season. In a special edition as part of Burning Issues 2022, we ask about the future of the institution, about power and structure. Live and on site. At the Akademie der Künste we briefly interviewed 18 speakers, conference participants and the initiator. CHEZ COMPANY will then move on from the Academy to visit directors and explore houses, management styles and canteens.
Gesine Danckwart und Sabrina Zwach
Skadi Schulz and Hannah Stengler
A format by Chez Company
Supported by the Doppelpass Fund of the German Federal Cultural Foundation
We talk to the dramaturg, Anne Rietschel, and the initiator of BURNING ISSUES, Nicola Bramkamp, as well as an actress who prefers to remain anonymous, about necessary and long overdue transformation processes: Theatres in which (expectant) mothers are being made redundant, about burnout/overload, systemic overload and why it is immensely important to share these experiences. You are not alone!
In the second episode, four very different interviewees combine the most diverse perspectives on theatre: Julia studies film and theatre, Nazli works as an assistant director, Dario is an actor on parental leave and Dagmar Dangereux is an actor, travesty artist and environmental activist.
We talk to students Ryan and Juna and to the artistic director of Schauspiel Hannover, Sonja Anders, about how we imagine the future. There is always hope that this theatre could change and that other narratives could also become possible!
Viccy, a master’s student in directing, shares her very concrete thoughts of collective direction. “Why not just start?” she and we ask.
Actor Jörg Pohl is part of the acting direction at the theatre in Basel and tells us about the reality of leadership responsibility and what the path to it was like. Unbelievable what we have experienced?
Emma is a tenured choral opera singer and she shines a light on the institution of opera from her perspective as a non-binary person. She can’t help but be an activist.
Claudia Schmitz, director of the Bühnenverein hopefully points out administrative and contractual changes. With Theresa, project manager, we talk about a programme for women in culture, among other things.
Sabine Harbeke, author, director, talks about the difficulties of breaking genres and working in an interdisciplinary way. Ozi Ozar is responsible for the conception and editing of the Theatertreffen-Blog and makes it clear that creatives will defect to digital media if we don’t make theatre attractive as an institution fast enough.