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In the Jonas Gardells and Simon Kaijsers tv-series from last christmas, ”The days are as the flowers bloom”, an episode from a theatre. Johan Rheborg doesn radhuspojken that has become known director. He will now lead the rehearsals of a show built at the own uppväxtens nyckelscen: the mother breaks the family’s gingerbread house in anger over her father’s infidelity.
has taken the place of the salon. The director is loaded, but update. Was so good to begin! Then, just then, the intervention of a just representative of the union for the tray, and explains to this there can be no theatre played, not yet, for there is still so and so many minutes of the contractual break.
Can there be conflicts between the requirements of the art and working life rules and laws? It would be naive to not answer yes. It is in art’s nature to find ways out of the trygghetszonerna. But it should also be in the big artists and the big institutions ‘ ability to do it in a way that is not detrimental to the professional involved in body or soul. It is, to some extent, this is art; to suggerera until the abyss is also on a stage that meets environmental and fire safety requirements.
can be magical places where miracles are staged. But they are also, and at the same time, everyday workplaces where a wide range of different professions to do their job, eat lunch in trivial containers and hurries to catch download on the kindergarten at the time.
Therefore, it is not unreasonable to the Swedish work environment authority now to examine a large number of theatres and other cultural institutions, even if one can imagine that the spotlight itself can exert an allure also in a state works.
Ingmar Bergman’s spirit has soared over the tiljorna.
to believe that sexual harassment and other types of male abuse of power is common in the culture – and the world of media than in other industries? Possibly. That, to some extent, different theatres, and editorial offices from many other workplaces is that they are largely mastered by informal power structures. Employees without managerial positions can, by virtue of their professional status or their commercial value have more power than the formal authorities. It increases the risk of power being used and abused without responsibility is taken and exacted.
In the debate on the royal dramatic theatre which is currently in progress, has the director Eirik Stubø ended up in the firing line. It is, in a way, of course. He is the manager. But often tend criticism to be of short memory. One must not forget that national at Nybroplan accommodates a cultural heritage.
you’re locked in the zoo at midnight and they have locked up all the cages. So, one of the Stubøs many representatives have described how it is to be in the possession of chefsrummet at the royal dramatic theatre.
This scene has a long, and not without grounds, cultivated a star – and genikult. The theatre has been the major actors and the demonic according to the directors home; in Ingmar Bergman’s spirit has soared over the tiljorna.
Against this background, parts of the Eirik Stubøs crisis management closest perceived as normaliseringsprojekt. To try to persuade a director to conceal a conflict behind the scenes ”disease” is, of course, as soon as to act as the anxious agency director at any time.
, and must be, a special kind of workplace. In a nice deconstruction of destructive myths, and implemented at the DN’s kultursida in the week, beating the royal dramatic theatre actress Andreas T Olsson determined that the actor does not have more darkness in them than others. But they have to job to in front of an audience immersed in darkness.
And that is precisely why their workplace should be extra safe.
