{"id":5287,"date":"2016-05-19T18:13:57","date_gmt":"2016-05-19T17:13:57","guid":{"rendered":"https:\/\/schspin.wordpress.com\/?p=5287"},"modified":"2016-05-19T18:13:57","modified_gmt":"2016-05-19T17:13:57","slug":"theatertreffen-2016","status":"publish","type":"post","link":"https:\/\/schspin.stieve.com\/gb\/2016\/05\/19\/theatertreffen-2016\/","title":{"rendered":"Theatertreffen 2016: Fast Fifty-Fifty – A Gender-Balanced Theatre Festival?"},"content":{"rendered":"

English Version<\/a> follows German.<\/em><\/strong><\/p>\n

Aktuell, vom 6. bis 22. Mai, findet das 53. Theatertreffen<\/a> statt, zu dem wie jedes Jahr die zehn bemerkenswertesten Produktionen der Saison im deutschsprachigen Raum<\/strong> nach Berlin eingeladen wurden.
\nLaut Theaterstatistik des B\u00fchnenvereins gab es in der Spielzeit 2013\/14 an 142<\/strong> \u00f6ffentlich getragene B\u00fchnen, das sind Staats-, Stadt- und Landestheater, 1.435<\/strong> Neuinszenierungen. Dazu kommen etliche weitere B\u00fchnen, beispielsweise das Maxim Gorki Theater, die Berliner Volksb\u00fchne oder das Berliner Ensemble, die auch \u00f6ffentlich gef\u00f6rdert werden, und nat\u00fcrlich die B\u00fchnen im deutschsprachigen Ausland. Das bedeutete also ziemlich viele Theaterbesuche f\u00fcr die siebenk\u00f6pfige Theatertreffen-Jury<\/a> (1 F<\/span><\/strong> 6 M<\/span>), bis sie sich auf die aus ihrer Sicht \u201ezehn bemerkenswertesten<\/em>\u201c geeinigt haben. (\u00fcbrigens cool, dass es nicht \u201edie zehn besten\u201c hei\u00dft).<\/span><\/p>\n

Das ist jetzt das vierte Jahr, dass ich das Theatertreffen auswerte, und ich finde es spannend, wie unterschiedlich die Auswahl jedes Jahr ist. Letztes Jahr (Berliner Theatertreffen 2015. Und Rollentausch<\/a>.) war unter anderem auff\u00e4llig, dass in der Summe aller 10 St\u00fccke gleich viele Schauspielerinnen und Schauspieler auf der B\u00fchne standen und\u00a0 es zwei St\u00fccke mit reinen Frauenensembles gab.
\nIch stellte am Ende die Frage: \u201ewo sind die Theaterregisseurinnen, wo die St\u00fcckeschreiberinnen<\/em>?\u201c, denn f\u00fcr beide lag der Anteil bei nur 30 %<\/strong><\/span>.
\nDieses Jahr sieht es zumindest bei der Regie deutlich besser aus. \u00dcberhaupt, generell ist das Geschlechterverh\u00e4ltnis in den vier Positionen Regie, B\u00fchnenbild, Kost\u00fcmbild und Dramaturgie relativ ausgeglichen<\/strong>, mit einem Frauenanteil zwischen 45 und 55 %<\/strong><\/span>. Dramatischer wird es allerdings, wenn wir die Dramatiker\/innen, d.h. die Autor\/innen der St\u00fccke betrachten, diese sind – wie auch in den Jahren zuvor – \u00fcberwiegend M\u00e4nner.<\/span><\/p>\n

Schreiben Frauen keine eigenen St\u00fccke?<\/span><\/h1>\n

Ich frage da bewusst nach ,eigenen St\u00fccken’, denn immerhin, drei eingeladene Produktionen wurden von Frauen mitgeschrieben bzw. bearbeitet: Barbara B\u00fcrk<\/span> <\/strong>hat gemeinsam mit Clemens Sienknecht<\/span> Theodor Fontanes<\/span> EFFI BRIEST umgeschrieben (Premiere am Deutschen Schauspielhaus Hamburg am 19.9.15 unter dem Titel EFFI BRIEST \u2013 ALLERDINGS MIT ANDEREN TEXTEN UND AUCH ANDERER MELODIE),\u00a0Karin Beier<\/span><\/strong> und Stefanie Carp<\/span> <\/strong>haben mit Christian Tschirner<\/span> <\/span>ebenfalls f\u00fcr das Deutsche Schauspielhaus <\/span>Federico Fellinis<\/span> SCHIFF DER TR\u00c4UME bearbeitet (Premiere 5.12.15), und Regina Dura<\/span> <\/strong>zeichnet verantwortlich f\u00fcr die Textfassung von STOLPERSTEINE STAATSTHEATER (basierend auf einem Text von Hans-Werner Kroesinger<\/span>), was am 21.6.15 am Staatstheater Karlsruhe uraufgef\u00fchrt wurde. Das vierte St\u00fcck bei dem eine Frau involviert war ist THE SITUATION, es wurde von Regisseurin Yael Ronen<\/span> <\/strong>gemeinsam mit ihrem Ensemble am Maxim Gorki Theater Berlin entwickelt. (Ich muss an dieser Stelle anmerken, dass mir die Unterschiede zwischen einer ,normalen\u2019, nicht erw\u00e4hnten St\u00fcckbearbeitung durch die Regie oder Dramaturgie, einer neuen Textfassung basierend auf einem St\u00fcck und einem neuem St\u00fcck nach einem alten St\u00fcck nicht ganz klar sind).
\n<\/span><\/p>\n

Die folgende Bildergalerie zeigt verschiedene Auswertungen der letzten vier Theatertreffen.
\n<\/span><\/p>\n\n

lklkj.<\/span><\/p>\n

<\/a>English Version
\n<\/b><\/span><\/p>\n

A Gender-Balanced Theatre Festival in Berlin<\/span>
\n<\/span><\/h2>\n

At the moment, from May 6 to 22, the 53rd Theatre Festival<\/a> is held in Berlin and like every year the ten most remarkable productions of the season<\/strong> from the German speaking countries are invited.<\/span>
\nAccording to the theatre statistics provided by the B\u00fchnenverein (organization representing theatres and opera houses in Germany) there were 142<\/strong> public theatres with 1,435<\/strong> new productions in the 2013\/14 season. On top of that there were a number of other productions, for example at the Maxim Gorki Theatre, the Berlin Volksb\u00fchne or the Berlin Ensemble, that also receive some public funding, and of course there are theatres outside of Germany. So the 7 members of the jury<\/a> (1 F<\/strong><\/span> 6 M<\/span>) of the theatre festival went to see rather a large number of plays before they agreed on their \u201cten most remarkable\u201d. (by the way, I think it\u2019s great that they aren\u2019t called \u201cthe ten best\u201d).<\/span><\/p>\n

This is the fourth annual Berlin theatre festival that I am evaluating and I think it is quite exiting to see how different the chosen 10 are every year. In 2015 (Berlin Theatre Festival 2015. And Gender\u00a0Switching<\/a>.) among other things it was quite remarkable that the sum of all 10 plays was evenly balanced for actresses and actors, and that there were even two productions with an all-female cast.
\nAt the end of the text I asked: where are the female theatre directors, where the female playwrights? because the share of women was 30 %<\/span> <\/strong>each for these jobs.
\nThis year, things are looking better as far as directing is concerned. Moreover, the gender balance in the four positions directing, stage and costume design and dramatic advice is quite even<\/strong> with a share of women between 45 and 55 %<\/strong><\/span>. More dramatically it gets when we have a look at the playwright, since just like in the previous years a strong male dominance in numbers prevails.<\/span><\/p>\n

Don\u2019t women write any plays?<\/span><\/h2>\n

Or better put, (why) don\u2019t they write plays of their own? Three invited productions were co-written or edited by women: Barbara B\u00fcrk<\/span> <\/strong>re-wrote Theodor Fontane<\/span>\u2019s EFFI BRIEST along with Clemens Sienknecht<\/span> (new title: EFFI BRIEST – ALTHOUGH WITH A DIFFERENT TEXTS AND A DIFFERENT MELODY, it premiered on 19 Sept. 15 at Deutsches Schauspielhaus Hamburg), Karin Beier<\/span> <\/strong>and Stefanie Carp<\/strong> <\/span>with Christian Tschirner<\/span> adapted Federico Fellinis AND THE SHIP SAILS ON also for the Deutsches Schauspielhaus (Premiere 5.12.15), and Regina Dura<\/span> <\/strong>was responsible for the text version of STOLPERSTEINE STAATSTHEATER (TRIPPING STONES STATE THEATRE, based on a text by Hans-Werner Kroesinger<\/span>), which had its world premiere on 21 June 16 at Staatstheater Karlsruhe. A four woman involved in creating a play is Yael Ronen<\/strong><\/span>, who developed the play THE SITUATION together with the cast (Maxim Gorki Theatre Berlin).<\/span><\/p>\n

\"theatertreffen_2016_en\"<\/a>This year, 7 of the 10 invited productions featured new plays or even world premieres, so that makes the lack of female playwrights even more remarkable. When we look at the classics, a probable 90 \u2013 100 %<\/span> male authorship seems to be the rule, but what about modernity or the present? Of course the 10 plays cannot possible represent the whole season, so what is the situation for plays on the market or on the stages in Germany, Austria and Switzerland? It would be interesting to find out how many of the beforementioned 1,435 premieres were plays written by women. Is there any change? And if not, why is that so? I have mentioned the 40+ %<\/span> <\/strong>female members of the German scriptwriters\u2019 union VDD. Do female authors prefer to write for film or television? Or are they simply not able to place their plays at theatres? This is an important question for another day.<\/span><\/p>\n

The following diagrams show different evaluations of the last four theatre festivals.<\/span><\/p>\n\n","protected":false},"excerpt":{"rendered":"

English Version follows German. Aktuell, vom 6. bis 22. Mai, findet das 53. Theatertreffen statt, zu dem wie jedes Jahr die zehn bemerkenswertesten Produktionen der Saison im deutschsprachigen Raum nach Berlin eingeladen wurden. Laut Theaterstatistik des B\u00fchnenvereins gab es in … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[76,89,80,186,192,252,373,403,517,618,680],"class_list":["post-5287","post","type-post","status-publish","format-standard","hentry","category-theater-theatre","tag-barbara-buerk","tag-berlin","tag-buehne","tag-dramaturgie","tag-effi-briest","tag-frauenanteil","tag-karin-beier","tag-kostuem","tag-regie","tag-theatertreffen","tag-yael-ronen"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"gb","enabled_languages":["de","gb"],"languages":{"de":{"title":true,"content":true,"excerpt":false},"gb":{"title":false,"content":false,"excerpt":false}}},"yoast_head":"\nTheatertreffen 2016: Fast Fifty-Fifty - A Gender-Balanced Theatre Festival? – SchspIN<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/schspin.stieve.com\/2016\/05\/19\/theatertreffen-2016\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Theatertreffen 2016: Fast Fifty-Fifty - A Gender-Balanced Theatre Festival? 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\"theatertreffen_2016\"<\/a>Dieses Jahr wurden mehrheitlich (= 7 Mal) neue St\u00fccke und Urauff\u00fchrungen eingeladen, insofern ist das Fehlen von Autorinnen noch bemerkenswerter. Bei den klassischen Stoffen gibt es diese gef\u00fchlte 90 – 100 %-<\/span>igen M\u00e4nnerdominanz, aber was ist mit der Moderne und in der Gegenwart? Nat\u00fcrlich sind die zehn ausgew\u00e4hlten St\u00fccke nicht repr\u00e4sentativ f\u00fcr eine Spielzeit, wie sieht es also sonst auf dem deutschen und \u00f6sterreichischen und schweizerischen St\u00fcckemarkt und den B\u00fchnen aus? Es w\u00e4re interessant zu ermitteln, wie viele der eingangs erw\u00e4hnten 1.435 Neuinszenierungen auf Texten von Autorinnen basieren. \u00c4ndert sich da langsam etwas? Und falls nicht, woran liegt das? Ich habe ja bereits \u00f6fters den \u00fcber 40 %<\/span>–<\/strong>igen Frauenanteil unter den Mitgliedern im VDD (leider immer noch: Verband der Drehbuchautoren (sic!)) erw\u00e4hnt. Schreiben Autorinnen lieber f\u00fcr TV und Film als f\u00fcr das Theater? Oder k\u00f6nnen sie ihre St\u00fccke ,nur nicht\u2019 an Theater unterbringen? Das ist ein wichtiges Thema f\u00fcr einen anderen Tag.<\/span><\/p>\n