zeit.de
Lilienthal to Lead Berlin's Volksbühne in 2026".
Matthias Lilienthal will become the new intendant of Berlin's Volksbühne theater starting in the 2026/27 season, supported by Florentina Holzinger and Marlene Monteiro Freitas, aiming to revitalize the institution and address contemporary societal issues.
- Who will lead Berlin's Volksbühne, and what is the significance of this appointment for the theater's future?
- Matthias Lilienthal, former deputy intendant of Berlin's Volksbühne, will lead the theater starting in the 2026/27 season, alongside Florentina Holzinger and Marlene Monteiro Freitas. This appointment aims to revitalize the Volksbühne for a new era while navigating financial constraints.
- How does Lilienthal's appointment relate to the Volksbühne's history under Frank Castorf and its subsequent artistic directions?
- Lilienthal's appointment represents a 'retrofuturistic' approach, combining his experience from the Volksbühne's 1990s heyday under Frank Castorf with the contemporary aesthetics of Holzinger and Freitas. This strategy seeks to recapture the theater's former glory and relevance in a changed cultural landscape.
- What are the potential challenges and opportunities facing Lilienthal's team in revitalizing the Volksbühne in the context of broader societal and economic changes?
- The choice reflects a shift away from the previous artistic direction under René Pollesch, who failed to revive the theater's impact. Lilienthal's team aims to address contemporary societal contradictions, contrasting with the neoliberal market-focused aesthetics of recent decades and returning to a more politically engaged form of theater.
Cognitive Concepts
Framing Bias
The article frames Matthias Lilienthal's appointment positively, emphasizing his experience and the potential for a successful revival of the Volksbühne. The inclusion of Florentina Holzinger and Marlene Monteiro Freitas is presented as a strength, suggesting a blend of established talent and innovative perspectives. However, the article's nostalgic focus on the 1990s era and its critical portrayal of the intervening period could overshadow potential challenges or risks associated with this choice. The headline (if there were one) would likely reinforce this positive framing.
Language Bias
The article uses loaded language to describe the 1990s era of the Volksbühne as a time of 'kulturelle Revolution' and the current state as 'politische Reaktion.' These terms carry strong connotations and imply a value judgment. Additionally, the description of Lilienthal's demeanor as 'grüblerische Präsenz und eine verschlossene Freundlichkeit' is subjective and might influence reader perception. More neutral terms should be used throughout.
Bias by Omission
The article focuses heavily on the history of the Volksbühne and the individuals involved in its past and future leadership. While it mentions René Pollesch's tenure, it omits a detailed analysis of his contributions and the reasons behind his perceived lack of success in revitalizing the theater. This omission prevents a complete understanding of the challenges facing the Volksbühne and the full context of Lilienthal's appointment. Further, the article's nostalgic portrayal of the 1990s era might downplay potential issues or limitations of that period's artistic approaches.
False Dichotomy
The article presents a somewhat simplistic dichotomy between the "political reaction" of contemporary theater and the "cultural revolution" of the 1990s. This oversimplification ignores the nuances and complexities of theatrical evolution and the diverse artistic movements that exist beyond this binary. The framing of Lilienthal's appointment as a "retrofuturistic solution" further reinforces this limited perspective.
Gender Bias
While the article mentions and praises female artists Florentina Holzinger and Marlene Monteiro Freitas, it predominantly focuses on the male figures (Lilienthal, Castorf, Pollesch). The description of Lilienthal's physical presence ('ausgebeulten Jeans und die Hände tief in den Taschen vergraben') might be considered unnecessary detail, implying a casualness not similarly described for the male figures. More balanced representation of women's contributions and perspectives is needed.
Sustainable Development Goals
The article discusses the appointment of a new leadership team for the Volksbühne theatre in Berlin, focusing on innovation and artistic renewal. This directly relates to SDG 4 (Quality Education) by emphasizing the importance of cultural institutions in shaping societal understanding and fostering creativity. The new leadership aims to reinvent the theatre for a new era, suggesting a commitment to evolving artistic expression and potentially expanding access to cultural experiences.