Dear reader
What do theatre and realpolitik have in common? In both, social issues are debated, roles are assigned, majorities are sought and realities are shaped. Yet whilst the political process ultimately results in a ‘yes’ or a ‘no’, theatre is interested in the space that precedes it: in the undecided, in contradictions and in the possibility of shaking certainties to their foundations. Mandy Abou Shoak, a member of the Zurich Cantonal Council, writes about this connection, this distinction between politics and theatre.
It is precisely when political scope narrows that we are interested in places where other ways of thinking can be explored, where taken-for-granted assumptions are questioned and where rules can be temporarily suspended. This is what we explore in this issue: access and encounter, children and club culture, and the freedom not to have to tell a story to the very end.
Since 2014, cultural manager Nadja Furrer has been bringing bands that usually play for adults to the Stall6 at Gessnerallee for children’s concerts – ranging from indie pop to hip-hop and Latin. Journalist Timo Posselt spoke to her about the magic that exists between bands and children as a surprisingly direct audience. Because children, says Furrer, are discerning: if they don’t like it, they get up and leave. If the spark is there, they clap, sing and dance wildly.
In early October, the Backslash Festival celebrates its 10th anniversary. Journalist Lara Blatter takes stock with Alex Gaeng, Laura-Maria Drage and Cristiana Stella. They discuss a festival that straddles club culture and performance art, inviting its audience to step outside their comfort zone.
How can culture be made accessible to as many people as possible? Journalist Raffaela Angstmann has been following the Zurich Access Kultur (ZAK) association, which advises cultural institutions on accessibility and inclusion. She meets Nina Mühlemann and Brianna Deeprose, two of the three co-managing directors, as well as consultant Jasmin Polsini, whilst she is at work at the Helmhaus. It becomes clear that barriers are often invisible, needs vary, and absolute accessibility is virtually impossible.
What remains of the opera character Carmen once her story has been told: dramaturg Isabel Gatzke discusses ‘strike’, the latest work by the collective Moved by the Motion, with performance artist Wu Tsang. They explore Carmen as a modern mythical figure and a canvas for projection, the return to intimacy, and the contradiction between representation and involvement. And on the power of flamenco: when it begins, says Tsang, everyone pauses.
Last but not least, the recurring features enrich this issue: Tren Guerrero has photographed the choreographer and dancer Tiran Willemse for the photo essay. Artist and musician Rada Leu has drawn a comic based on the rehearsals for ‘Multitud’ by choreographer Tamara Cubas. In the fashion column, multimedia artist Lyn Bentschik presents comfortable and practical fashion that doesn’t constrict, constrict or pinch. And author, comedian and film producer Karpi ventures a glance at the stars in the theatre horoscope.
We hope you enjoy reading this issue.
Rahel Bains, Kathrin Veser, Miriam Walther