Culture and Corona: Dying slowly

From Munich’s Abendzeitung tonight:

Kultur und Corona: Stirb langsam!
In München dürfen nur noch 50 Besucher ins Theater, in Stuttgart gilt dagegen eine Sonderregelung für den Kulturbereich. Ein Vorbild für Bayern?

by Robert Braunmüller

The musicians of the Munich Philharmonic were on the phone yesterday morning to personally inform the ticket buyers for the concert under David Afkham about the consequences of the new Corona regulation: Because the traffic light is now dark red, the pilot test in the Gasteig with 500 visitors has been canceled. Now only 50 listeners are allowed into the concert, who then sit opposite an orchestra of the same strength.

More here.

 

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  • How long before all events are closed down again? The increase in reported infection levels and the actions being taken by Governments to contain further increases are showing that even pictures like the one above, dispiriting though they are and totally antithetical to the concept of pleasure, are not working. And so we will all, performers and audience alike, be back where we were 7 months ago.

    People will have different views on what we are currently locked into but I think it is now apparent that whatever actions are being taken, including those by gold standard regimes, are not containing the spread of the virus and the only thing that seems to have any impact is the curtailment of social contact. And even that seems not to be too successful. Dark days, weeks and months ahead for more than just performance spaces.

    • Yup, sounds about right. Basically, there’s nothing we can do about it and all these measures just highlight how we’ve neglected our health services over the years, thinking that just encouraging people to smoke and drink less will somehow do the job while services are decimated.

    • “Der Pilotversuch belegt in einem 17-seitigen Bericht, dass es bei der Größe des Nationaltheaters und bei Einhaltung der einer Infektionsgefahr vorbeugenden Maßnahmen sehr gut möglich ist, vor 500 oder sogar noch mehr Besuchern zu spielen.”

      I am sure Nikolaus Bachler was also well aware that, during this summer’s Salzburg Festival, up to 1,000 guests were allowed into the 2,400-seat Grosses Festspielhaus for the multiple performances of Così fan tutte thanks to a “special permit” given to the theater by the Austrian government – and no outbreak.

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