taz.de
Lilienthal Appointed New Artistic Director of Volksbühne Berlin
Matthias Lilienthal, former Volksbühne employee and head of other major German theaters, will become the next artistic director of the Volksbühne Berlin in 2026, succeeding the late René Pollesch and aiming to stabilize the institution after a period of instability.
- Who will lead the Volksbühne Berlin, and what are the immediate implications of this appointment for the theater's future?
- Matthias Lilienthal will become the new artistic director of the Volksbühne Berlin, starting in the 2026/2027 season. He previously worked at the Volksbühne in the 1990s and has since led other prominent theaters. His appointment follows the unexpected death of René Pollesch and a period of instability for the theater.",
- What are the potential long-term artistic and financial impacts of Lilienthal's leadership, given his past experiences and the Volksbühne's unique challenges?
- Lilienthal's leadership will be crucial for the Volksbühne's financial recovery and artistic direction. His selection suggests a focus on experienced management rather than a solely artist-driven approach. The success of his vision will depend on his ability to balance artistic innovation with financial stability and address the theater's complex history and political context.",
- How does Lilienthal's appointment address the Volksbühne's recent history of instability and financial challenges, and what role will the new artistic board play?
- Lilienthal's appointment aims to stabilize the Volksbühne after years of turmoil, including protests, leadership changes, and financial challenges. His experience leading other theaters and his familiarity with the Volksbühne's history could help navigate these issues. He is expected to bring an international and multidisciplinary approach, building on work already done by artists like Susanne Kennedy and Florentina Holzinger.",
Cognitive Concepts
Framing Bias
The article frames Lilienthal's appointment positively, emphasizing his past successes and experience. The challenges facing the Volksbühne are mentioned, but the overall tone suggests confidence in Lilienthal's ability to overcome them. The headline, while not explicitly provided, likely contributed to this positive framing.
Language Bias
The article uses language that subtly favors Lilienthal. Phrases like "the suitable man," "good starting chances," and "could rescue the Volksbühne" suggest a positive predisposition. While not overtly biased, these word choices could influence reader perception.
Bias by Omission
The article focuses heavily on Lilienthal's past experiences and potential, but omits discussion of other candidates considered for the position. While mentioning Vegard Vinge, Ida Müller, Ersan Mondtag, and Florentina Holzinger, it doesn't delve into their qualifications or why Lilienthal was ultimately chosen, potentially leaving out crucial contextual information for a complete understanding.
False Dichotomy
The article presents a somewhat false dichotomy by framing the choice between Lilienthal and other candidates as a choice between 'a professional' with experience and 'artists' lacking in administrative experience. This simplifies a complex decision-making process that likely involved multiple factors.
Gender Bias
While the article mentions several female artists (Susanne Kennedy, Constanza Macras, Florentina Holzinger, Marlene Monteiro Freitas), their contributions are described within the context of Lilienthal's plans. There's no explicit gender bias, but a more balanced approach might highlight their individual achievements and perspectives more independently.
Sustainable Development Goals
The appointment of Matthias Lilienthal as the new intendant of the Volksbühne theater signifies a commitment to fostering artistic innovation and expanding the reach of cultural experiences. His focus on internationalization, multilingualism, and the integration of diverse art forms (dance, visual arts, cinema) aligns with promoting inclusive and diverse cultural education.