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Why German State and City Theatres Love Refugees

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Why German State and City Theatres Love Refugees Andreas Donders Student Number: 11104201 E-Mail: [email protected] Why German State and City Theatres Love Refugees. A Critical Discourse Analysis of the debate surrounding Alvis Hermanis and Thalia Theater Hamburg (2015). Master’s Thesis Arts and Culture: International Dramaturgy University of Amsterdam Faculty of Humanities Theatre Studies Summer 2017 Supervisor: Prof. Dr. Jan Lazardzig Second Reader: Prof. Dr. Kati Röttger Table of contents page 1. Introducton 1.1 The debate surrounding Alvis Hermanis and Thalia Theater Hamburg 2 1.2 Methodology 5 1.3 Key terms and the issue of language 7 1.4 Structure 11 2. Portrayal: Background and context 2.1 The German state and city theatre system: a brief historical sketch 12 2.2 The so-called “refugee crisis” in Germany from a theatre perspectve 20 3. Analysis: The Hermanis/Thalia incident 3.1 Introducton of the main agents 28 3.2 Thalia Theater's press statement 30 3.3 Hermanis's statement 40 3.4 Lux's statement 44 3.5 User comments on nachtkritk.de 48 3.6 Media reports 50 4. Interpretaton: German state and city theatres in the so-called “refugee crisis” 4.1 An aesthetcally heteronomous approach of a new quality 53 4.2 Possible readings of theatre's engagement and the Hermanis/Thalia incident 55 4.3 Power relatons 61 5. Conclusion 5.1 Summary 64 5.2 Outlook 65 5.3 Some points of critcism and concluding thoughts 66 6. Appendix 6.1 Materials 6.1.1 Thalia Theater press release 70 6.1.2 Statement Alvis Hermanis 71 6.1.3 Statement Joachim Lux 72 6.1.4 Inquiries 73 6.1.5 User comments on nachtkritk.de 76 6.1.6 List of media reports 80 6.2 Bibliography 83 1/93 1. Introducton 1.1 The debate surrounding Alvis Hermanis and Thalia Theater Hamburg On 4 December, 2015, a press release by Thalia Theater Hamburg announced Latvian theatre director Alvis Hermanis's cancellaton of an upcoming show at the German city theatre. “In every war you must pick one side,”1 and Hermanis and Thalia Theater stand on opposite sides, the director is paraphrased in the press release. What had caused Hermanis to rhetorically go to “war” like this? Part of the answer lies in the politcal and social conditons in Europe at the tme. In the summer of 2015, the so-called “European refugee crisis” peaked. As a reacton to rising numbers of refugees stranded in Hungary in early September, the German and Austrian governments opened their countries' borders and let people enter without registraton. 2 According to chancellors Angela Merkel and Werner Faymann, these measures were supposed to defuse the situaton and prevent a humanitarian crisis.3 German chancellor Merkel's asserton “We can do it” (“Wir schafen das”), frst expressed a few days before the border opening, set the tone for an extensive Willkommenskultur.4 This welcoming culture towards refugees found expression partcularly in humanitarian aid given by large parts of German civil society. Besides the efort of the general public, the Willkommenskultur was also refected in an increased engagement of German state and city theatres in the topic of refugees. Not only were numerous stage productons created that dealt with refugees and contguous topics. Many theatres also hosted public discussions, actvely opposed ant-refugee rallies, or provided humanitarian aid. Actons like this were maintained over the following months.5 Alvis Hermanis, the aforementoned press release reads, does not support the 1 Hanna Klimpe, “Alvis Hermanis sagt Inszenierung am Thalia Theater ab. Grund: das Engagement des Thalia Theaters in der Flüchtlingsfrage.” Thalia Theater Hamburg Pressemiteilung. Web, 04.12.2015. Online (last accessed 07.06.17): <htps://www.thalia-theater.de/uploads/Absage%20Alvis%20Hermanis(1).pdf>. (The press release can also be found in the appendix: chapter 6.1.1). 2 “Unterbringung in Deutschland. Oberbayern rechnet mit bis zu 10.000 weiteren Flüchtlingen.” Spiegel Online. Web, 07.09.2015. Online (last accessed 07.06.17): <htp://www.spiegel.de/politk/deutschland/muenchen- rechnet-mit-bis-zu-10-000-weiteren-fuechtlingen-a-1051739.html>. 3 Nico Fried, “Merkel zu Flüchtlingspolitk. '... dann ist das nicht mein Land'.” Süddeutsche Zeitung. Web, 15.09.2015. Online (last accessed 07.06.17): <htp://www.sueddeutsche.de/politk/merkel-zu-fuechtlingspolitk-dann-ist-das- nicht-mein-land-1.2648819>. 4 “Mitschrif Pressekonferenz: Sommerpressekonferenz von Bundeskanzlerin Merkel.” bundesregierung.de. Web, 31.08.2015. Online (last accessed 07.06.17): <htps://www.bundesregierung.de/Content/DE/Mitschrif/Pressekonferenzen/2015/08/2015-08-31-pk- merkel.html>. 5 “Die Türen sind ofen. #refugeeswelcome – Wie die Theater in der Flüchtlingshilfe aktv werden.” nachtkritk.de. Web, 23.09.2015 (inital publicaton; last updated on 28.01.2016). Online (last accessed 07.06.17): <htps://www.nachtkritk.de/index.php?opton=com_content&view=artcle&id=11497:immer-mehr-theater- engagieren-sich-fuer-fuechtlinge&catd=1513&Itemid=85>. 2/93 humanitarian aid for refugees given by Thalia Theater and many other German city theatres, and he does not want to be associated with it. Hermanis allegedly sees a connecton between immigraton as well as the Willkommenskultur on the one hand, and terrorism, partcularly the terrorist atacks in Paris three weeks earlier, on the other. The next part of the press release is a statement by Joachim Lux, the Intendant (theatre director) of Thalia Theater, in which he expresses his astonishment and regret about Hermanis's cancellaton and what he calls a divide across both Europe and the cultural sphere. Although claiming that he respects Hermanis as an artst, Lux makes clear that Thalia Theater does not share the director's current politcal positon. The press release provoked a lot of harsh critcism in German media and online comments on the theatre website nachtkritk.de, mostly directed at Hermanis. Shortly afer, the critcized director released a statement through nachtkritk and a few other media outlets with his own account of the events.6 In it, he accuses Thalia Theater of releasing the press statement without his consent, of quotng him out of context, and of atemptng to silence his opinion. Moreover, he defends and further explains his reasoning for the cancellaton. Two days later, Lux countered Hermanis's accusatons and reafrmed Thalia Theater's stance on the issue in a second statement published on nachtkritk.7 Both Hermanis's and Lux's follow-up statements further fueled the lively debate taking place in both the press and online comments. In the days and weeks following the press release, numerous commentators discussed diferent aspects of the controversy surrounding Alvis Hermanis and Thalia Theater,8 including the validity of Hermanis's arguments and whether Thalia Theater should have made Hermanis's statements public. In this thesis, however, I want to focus on an aspect that was neglected by most, namely the queston why the debate occurred in the frst place. The Hermanis/Thalia incident emanated from the conduct of many German state and city theatres in the summer and fall of 2015 with regard to the topic of refugees. But why did so many theatres take acton in the so-called “refugee crisis”? Rarely have that many theatres turned to one topic so uniformly and devotedly, though. It seemed like theatres virtually love (the topic of) refugees, as I suggest in the 6 “Miten im Krieg? Alvis Hermanis sagt aus Protest gegen Flüchtlings-Engagement Thalia-Inszenierung ab.” nachtkritk.de. Web, 04./06.12.2015. Online (last accessed 07.06.17): <htps://www.nachtkritk.de/index.php? opton=com_content&view=artcle&id=11864:alvis-hermanis-sagt-aus-protest-gegen-fuechtlings-engagement- thalia-inszenierung-ab&catd=126:meldungen-k&Itemid=100089>. (Hermanis's statement can also be found in the appendix: chapter 6.1.2). 7 “Miten im Krieg?” (Lux's statement can also be found in the appendix: chapter 6.1.3). 8 With the expressions the debate or the controversy surrounding Alvis Hermanis and Thalia Theater I refer to Hermanis's cancellaton of his job in Hamburg, Thalia Theater's publicaton of Hermanis's cancellaton, and all public contributons to the ensuing debate. For the sake of brevity, however, I will in most cases refer to the debate... as the Hermanis/Thalia incident. 3/93 ttle of this thesis.9 I argue that the cause of this devoton is that the so-called “refugee crisis” also served as a means to negotate another confict. From my analyses of the Hermanis/Thalia incident, the events in theatre in the months before, and the general history of German state and city theatres, I have developed a working hypothesis: Besides the obvious aims of debatng the topic of refugees and giving humanitarian aid, the diverse engagement of many German state and city theatres in the so-called “refugee crisis” was also an expression of another issue. This underlying confict is the state and city theatre system's crisis of legitmacy between the poles of autonomy and heteronomy. The terms autonomy and heteronomy each have two dimensions that I will consider, namely what I call the aesthetc and the structural dimension. Although these diferent aspects are generally expressions of the same ideas, it is worth distnguishing between them. The aesthetc dimension of autonomy is the autonomy of art.10 According to Jacques Rancière, the idea of autonomy has been dominant in the arts for the last two centuries.11 He characterizes this tme by the noton of “the singularity of art”12 in relaton to everything else. Here art is not subject to a regime of utlity but it is contngent only upon itself.13 The structural dimension of autonomy is the autonomy of theatre as an insttuton.
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