It’s summer and you’ve just finished your master’s degree in Berlin. Theater and music are your life and now you want to get started – whether as a musician, singer, or director. Of course, you’ve been to many theatre performances and have already gathered many impressions, perhaps you’ve even done some work as a freelancer at the theatre – unpaid, of course. What are you going to do?
Art opens up spaces in which ideas, reflections and emotions can be developed and negotiated.
Spaces for all of society!
(„Diary“: without claim to completeness. Freedom of the imagination. Scraps of thoughts. Any resemblance to allegedly real scenes is purely coincidental).
Presentation of the concept (Konzeptionsgespräch). These introductions are important. But I don’t like them!
In April 2020, I joined the board of the Spanish union for opera artists „ALE“, where I was responsible for international affairs. My deep conviction was and still is, that we need to create a common European legal basis to protect all opera and theater workers.
As if the studies were not long and difficult enough:
The vocal apparatus, the breath, the psyche, the musicality, the expression – all the time you’re stuck on another corner and when, after 6 years (that’s as long as a basic study of medicine!), you finally stand on your singer’s feet and are lucky enough to be engaged at a theater, you’re a “beginner” with a basic salary of €2000/month, gross, mind you.
Even if some cannot believe it, those who have never been there themselves: Opera houses and theaters around the world are, even now, regularly sold-out with works that have been sold out for 200 years and that have deeply moved people who want to see the same pieces over and over again – for 200 years, throughout all times of both wars and peace.
The reason why I find myself in our movement kreak[K]tiv musiktheater stands up is that, for me, from the very beginning it has seen the human being, i.e. the artist, and not just the art as the focus of its efforts.
