Hampus Hallberg that the theater does not get cool without young
Theater debate about coolness (DN, 15/4)which was triggered by that Sydsvenskans Sara Berg (31/3) Nostalgically remembered how cool it was with performing arts in Malmö during the 00s, has been more about who Going on Theater than about who creates the.
But one is obviously related to the other.
For example, look at the free groups in Stockholm. When the Galeasen started (1984), the theater’s artistic leader was 23 years old, while Giljotin (1989), Tribunal (1995) and Moment (2000) were all founded by people under 30.
That someone like Is just as young today would receive business support and be able to open their own theater is an almost absurd thought. Cultural support decreases or is locked in already existing activities.
Today, the artistic leaders of these theaters are all over 50, many around 60 years. Release groups are often said to be the part of theater Sweden that will « oxygenate » the rest of the system, but the high average age leads to young directors rarely doing theater there. And if they don’t get a chance – where will the institutions find their new directors?
It doesn’t have to be this way!
In a Nordic perspective It is clear that Sweden’s national scene has slipped after, both in terms of the number of productions of younger directors and investments in large scenes. Since 2015, so many works have been produced – for an adult audience – by directors for 40 years:
– The Royal Theater, Denmark: 40 productions, 15 of which are on the big stage.
– The National Heater, Norway: 28 productions, of which 11 on the big stage.
– Dramaten, Sweden: 13 productions, of which 1 were on the big stage.
The institutions have a responsibility for talent development. In Europe, several institutions have side scenes with their own artistic leaders where younger abilities are allowed to create adult theater – sometimes with some niche – experimental, newly written or collectively.
Around the turn of the millennium there was both backstage at Kulturhuset Stadsteatern and the electricity plant at Dramaten. There are no similar initiatives today, either in Stockholm or in the rest of Sweden.
It is often talked about That you want to reach the young « cool » target group, but no serious attempts are made. Does it matter? In the Gothenburg Post (20/4) Johan Hilton landsSpeaking of the theater debate, in that every age has its cultural needs. The club kid comes to the theater as they get older, he reasoned. But if young adults still want to go to theater, just like Hilton and Berg when it went, where should they go then?
Sweden’s large institutions need open scenes for the next generation: Start a new backstage, a new electricity plant! The releases need renewal: Replace your artistic wires!
The votes of the future do not knock on the door for any length of time without being admitted. Sweden’s large institutions need open scenes for the next generation: Start a new backstage, a new electricity plant! The releases need renewal: Replace your artistic wires!
Swedish theater needs to be relevant. Instead of getting them at the end of their careers to adapt to a younger audience – give room to the young to do theater!
It gets cool.
Read more:
Jacob Lundström: How « Cool » is the disgust in Gothenburg?
Lisa Boda: Look here – Gen Z can certainly make wonderful theater
« Can’t help fail in love » makes it fun to be dumped in the theater
