Wednesday , January 27 2021

A boss on a thread is not on a salary, but a loss. The city should add us, says their boss

Goose on the String Theater, as well as the Experimental Theater Center (CED), which still includes the Divadlo and U Stolku Theater, have recently experienced a rather turbulent period. What is the atmosphere here?

The atmosphere in the boss is now good, everyone is waiting and enjoying it when it comes to the role of the artistic director, the award-winning director, Anika Davidova (formerly Petrzalkova, note editor) that his engagement, as well as the commitment of the new dramaturist Martin Sladek, will start on January 1, 2019 The new artistic direction of the theater, including the nearest season.

Upon their arrival, I also expected myself that I took some functions after leaving Vladimir Moravec. Apart from being a dramaturge until recently, I was the artistic director of Husy na provázku for almost a year and I am the director of the Experimental Theater Center. I expect some relief.

How did you manage the attack?

It was a ride on the tiger. We went through a difficult period, but I think it was very successful. The bandage celebrates its 50th anniversary with a large day-long event, which was crowned between the House of the Arts and the House of Lords of Penal, a comprehensive retrospective exhibition, two major festivals in Prague and Shilke. In the new season, in cooperation with the Berno Philharmonic, they organized an event in Damascus to mark the 100th anniversary of the Republic. We recently introduced the production of America, which is an excellent response.

Since the beginning of the season, we have also opened a new cycle of discussions called Republic Coffee – the last discussed by the President of the Constitutional Court, Pavel Rychetský, with the representative of the Slovak Republic Iveta Radičová. We now have the premiere of Dostoyevsky Player, directed by Machala Hába. A new game of Uhde Milan has been preparing Juraj Nvota. The year was full of intensive work, and I think I can say bravely that it's a fun job.

What about the set? After all, it started with the huge event of the ensemble and almost all the employees …

The system is stabilized, the atmosphere is good. Otherwise, she is in Diddell, who in the tender supported her candidate for the position of Director CED. So far there's a hangover, because it happened differently.

There was also a letter in which they called for detachment from the CEDU …

Yes. I try to be friendly, patient and open, I have a desire to talk to them. However, there are also significant financial difficulties. And so we come to the current issues of the whole CED. The dividend is economically strong minus. We were able to partially hide the subsidies of the Ministry of Culture, but new productions are emerging, which, of course, bring new costs – at the end of the year, now it seems a big loss. In the tender all applicants agreed that the entire institution financed. Finally, even the selection committee itself, composed of experts and representatives of the city council.

How does the dehydration deficit actually manifest itself?

Every day, as a manager, I encounter various problems. We do not have enough money to make productions. While our budget was a bit upgraded last year, we remain half that to produce productions in a similar style of theater. That's a terrible number. We have to pay for it not only to the director, but to every creative team working on production for two to three months! At the same time, we need to make a scene, costumes, buy accessories, and so on. We do not have our own workshops or tailor shop, so we have to buy everything from the outside.

So how do you solve this?

We are forced to pay artists lower wages than other cinemas. Which, of course, begins to show that it gets harder and harder to get quality created here. If we remain a leading organization that will run an advanced theater, we must be able to create quality artists, but we must be able to pay for them properly. This is a huge problem. What, however, is even worse – we do not have enough money for our employees wages. We all rank at least lower than those in other theaters.

Does this concern all positions?

Yes – from managing a technical way to a player. The salary of the table in our case does not even take into account the real cost of labor. In other organizations it is made up of different bonuses or rewards, but we just do not need money for them. Some CED positions are completely lacking. To save, people accumulate the functions, they get more work, meaning not only that they are badly paid, but they are still overworked, tired and cluttered for a long time. Then they leave. And we need to learn new ones, but after a while they leave again. And so again and again. It's a vicious circle.

How much Husy player on the string really earns?

This varies a lot depending on the class and degree in which they are classified. It ranges from twenty thousand gross to thirty thousand gross for the oldest and most experienced player.

How many percent would you have to raise your budget next year to avoid doing the same problems, or to pay better to your people?

From the beginning I try to work synergistically with the city. During the selection process, I informed the director of CED that I would prepare a report in which I will present how much money the organization lacks.I have detailed this report and submitted it to the representatives of the city administration – the highest management of the municipality, now to the emerging.All competent politicians have an accurate analysis available, Clear on where and how much CED money is missing.The total amount is 11.6 million crowns.

On every CED?

Yes. But this is not a major breakthrough. It is only about creating normal conditions for creating under constant activity and keeping a balanced budget. This amount covers a severe shortage.

And how did the representatives of the city react?

I was sure that city officials were well aware of CED's problems and that they consider the solution of their underfinancing as one of the city's priorities. It makes me happy and I really appreciate it. I understand that politicians now face a complex task when setting the budget for 2019. However, it is a serious and growing problem that CED funding should be a public issue as it is closely related to the city's cultural policy.

CED is waiting for a very profound and necessary change …

exactly. Since January 1, the Goose's new artistic leadership has begun the String Theater. This is a very fundamental change in the theater. In the forty-seven days, Theater U has been in operation for twenty years. A new studio is dedicated to experimental theater with overlap to other types of art. It will be a workshop for creative inspiration and a natural bridge to the ungrounded scene. Since March, Matyas Dlab has been artistic director, Lukasz Jiiička as playwright Soaa Borodáčová as producer.

The goal is to establish a center of projects, which will be the focus of innovative landscape art, able to establish long-term cooperation with domestic scene and foreigners. We want to create a place for a barrage to meet established and novice artists, both official and underground cultures. At the same time, it is also absolutely necessary to restructure the entire department of director and management of CED.

So, do you have politicians guaranteeing that they will increase your budget by the required twelve million? Or can you imagine it would be less? What if they do not add anything to you?

I can not imagine it at all. Or say otherwise: anything can be imagination, but it should have its consequences. This can be expected to be the result of CED's limitations. We had to cut the debut, introduce a lesser and therefore lower self-movement, we had to undo the change of CED. But it will interfere with the essence and meaning of the whole CED. It is a unique organization with the potential to become a cultural power not only in the city or republic, but also in the international arena.

CED provides a huge service to the city. He produces his ingenious Luci co, focuses on a young audience, deliberately and in the long run supports original works, new writers and artists. At the same time spring is an important seed of talent. Every year 600 performances and events are played, which is similar to the national theater. So all of these questions are, of course, related to cultural politics in the area of ​​live art in Brno …

Unnamed: Are you disgusted?

No – I believe that now we are at the threshold of something beautiful and unusual. This is a unique opportunity to rebuild and rebuild in Brno something quality and unique that the city can be rightly proud of it. We have a great team and look forward to the following.

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