to understand the extent of the crisis that finally got the royal Dramatic theatre’s managing director Eirik Stubø to resign is required to understand the following: the theatre’s inner world is characterized generally by the silence. Although they are often far and wide on the town about the wrongs in the industry, about the abuse of power and ill-managed conflicts. But when it pulls up to the interview, usually most of the recoil. Ask any kulturreporter at any time. If the silence is an expression of discretion and solidarity with the collective and the art, or a hierarchy with the associated insecurity of employment, I let remain an open question.
Read more: Eirik Stubø leaving his post
It has been the same thing at the royal dramatic theatre – until now. In recent weeks, several of the staff stepped forward to bear witness of the unsustainable state of the house. First they upset the votes after the first stormötet, a couple of days later, the actor Julia Dufvenius here in DN. And now the latest director Jenny Andreasson.
It was simply not possible anymore, people seem to have felt compelled to tell and, moreover, were prepared to pledge their careers in the house to do it. Such requires the backbone of a profession as sensitive to popularitetskonjunkturer as the actor’s and the director’s.
eventually begins to dispel itself, I suspect that you will agree on a comprehensive interpretation of what was happening: Eirik Stubøs big mistake was that he miscalculated the power of the wave that started in the autumn of 2017. He thought that it was enough to listen to the testimony of the tystnadtagning and metoo, draw up policy documents and to say that he ”looked seriously” at the stories told. But the voices called for action.
It is, like most models, of course, a simplification. The royal dramatic theatre’s problems have been obvious for decades, and is not tied to a single person or even a handful of violent men. It is about the closest to the ancient hierarchies that are certainly making their presence felt at many Swedish opera house, but in a often enhanced form on the right national. Leif Zern is just one of those who in recent weeks have written creditable if the royal Dramatic theatre’s special self-image and how it is charged to the theatre (DN 2/4).
Therefore, one of crisis osmakligaste elements when two of the previous bosses Ingrid Dahlberg and Staffan Valdemar Holm washed his hands in Expressen in the face of it that is now published (26/3). Both have very much been complicit in the genikult that have proliferated at the royal dramatic theatre and the grotesque hierarkisering followed in its tracks. A tangle of unresolved problems that eventually ended up in the Stubøs knee.
But the board also bears a heavy responsibility. Why did they long so passive during the personalflykten from the national the past few years? How was it that they accepted the clumsy handling of the incidents in the autumn of 2017, what did they know about the problems that now come up to the surface and why intervened in such case they not? It will require both genomlysningar and investigations to get the answers in a fraction of the issues.
Now drag the work with a new head of the royal dramatic theatre started. Hopefully go to the assignment to someone who has great insights in the house of their own psychological processes
probably to be remembered as the theater manager who couldn’t cope, the pressure for metoo and who rather preferred the risk of directors and provided to save the actor with the escorts than sniffed out nationalscenens inpyrda byk. It would be a shame if that were the case – as weak as the management and the hr section of the work has been, equally strong was the artistic efforts.
”Oedipus/Antigone”, ”The good will” and a guest appearance with the ”Complain whatsoever Elektra” are just three of Stubøs hits as a director, as finkalibrerade and low-key as sharp. Also the repertoire throughout his time at the helm has been both commercially successful and remarkably vital, with a string of brilliant performances like ”Angels in America”, ”Swede Hollow”, ”the Chairs”, ”The troubled,” and, not least, last weekend’s premiere, ”the Line of Lust”.
Because Maria Groop Russell now takes over as the ceo will learn the process of finding a new artistic director of the royal dramatic theatre in stockholm already be in full swing. By separating the managing director and the artistic director – and thus grossly expressed, separating the administration and the artistic – the ranks to a model that has proved to be fruitful in, for example, the Göteborg city theatre. To the role of such a leader are sought reasonably to someone who already can both the house and the staff without, and before, that have solid chefserfarenheter and significant insights into the house’s own psychological processes. And also want to be at the forefront of both a curative and a change process. A tulipanaros?
don’t Be surprised if the royal Dramatic theatre’s next artistic leader is Stefan Larsson.
