Matthias Hartmann: Theater or disruptive factor - A director in transition

Matthias Hartmann: Theater or disruptive factor - A director in transition

In the world of theater, director Matthias Hartmann is a polarizing character. From the heights of fame, as director of the Zurich Schauspielhaus and the Vienna Castle, to his dismissal for falsifying accounts, his career has seen many ups and downs. Hartmann was known for his innovative productions, but the allegations shook his career. Since his rehabilitation in 2018, he has become active as Creative Director at Red Bull Media House and has drawn attention to himself with provocative statements about the theater landscape.

In an open conversation, Hartmann discussed the relationship between theaters and their audiences. Surprisingly, he described audiences as often misunderstood disruptors to theater with “meaning”. Hartmann got the impression that many theaters are no longer fighting for audience favors, but are instead guided by a kind of “cryptocurrency” of meaning. He emphasizes that success in the theater is no longer measured by ticket sales, but by the approval of cultural politicians and critics.

The audience and its role in the theater

Hartmann's critical view of the theater landscape is sharp and unvarnished. “In Zurich you don’t need the theater to live, it’s a nice-to-have,” explained Hartmann. He sees a worrying trend of these institutions becoming increasingly marginalized as people crave exciting, exciting experiences. Going to the theater is no longer a given, and the reasons for this are complex. Hartmann notes that in laid-back cities like Zurich, it's easier to apparate a distance from the theater, especially when the offerings are no longer as tempting.

His new book could be interpreted as a kind of manifesto for the theater world; It contains not only personal insights and anecdotes, but also a guide to the balance sheet manipulation he observed in his previous positions. It is a mixture of self-reflection and criticism of the structures within the theater world, which, in his opinion, fail to be truly relevant to the audience. Hartmann is convinced that many creative minds today no longer feel the pulse of the audience. “The audience wants to be challenged and seduced,” he added.

The influence of cultural policy and the role of critics seem to have greater importance in Hartmann's eyes, while the direct connection to the audience falls out of focus. He warns that if this trend continues, theater could fall behind as a major art form. An alarming question that arises from his statements is: What happens to theater when the audience no longer needs it in its rituals?

A new understanding of theater

His experiences during his time as program director of the legal-political Servus-TV were also discussed. Hartmann sees no contradiction in this, but describes the station as one that contributes a lot to the media landscape. "People don't watch analog TV anymore. But they come to the theater when there's great content," he says, expressing his belief that quality makes the difference in art.

Hartmann never completely gave up his place in the theater. He is currently staging again in Vienna and has a touching respect for art itself. His pleas for a system change in the theater through performance-dependent subsidies show a modern mental model that reflects the spirit of the times. “Art should be rewarded, while failure is sanctioned,” says Hartmann. In his opinion, this would create more incentives to work innovatively and in an engaging way.

In summary, Matthias Hartmann's return to the spotlight of the arts and his provocative views on the theater landscape are unifying.

A detailed insight into Hartmann's visions for the future of theater and his honest reflections on the past can be found in his current work. Here he not only criticizes and questions the structures of the theater, but also his own place in it. More information on this topic is available here to find.