Theatre’s great common denominator or dominator?

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If we don’t want to go back to previous madness after current crisis, we would have to consider arts as well: Where do we want to go?

Well, the hack, what is it all about with those Carmens, Traviatas and friends: isn’t that also a form of pollution, an artistic stock pile of the past we very well could stream through fantastic digital means?

Didn’t I say last November (conference OE Karlsruhe) : “What if, what if, the future of opera was in the internet?”

Hello? Did someone listen? I guess it turned our right. At the beginning there was silence, but then in the end the discussion had abruptly to be stopped as we went out of time. Some were guessing and fathoming the meaning of my question. So, yes, now, for the dramatic and tragic tsunami we live in, where at the end, we are told, lies “tremendous light”, infact the internet has become the great common denominator. Or is it to become a dominator of arts and liberties?

Will everything else be measured and streamlined to fit willfully into the flatness of a once called “cyberspace” which never has led us anywhere than just alienated us from what we expect from performing arts?

I am coming back to my first point: There is a pollution in our cultural atmosphere, and it isn’t likely to cease as does the microparticles and NO2 etc in the air from burning fossil fuels. It’s the heritage of arts for mass tourism and mimicking a today obsolete society of the past. I would say: Go and stream Traviatas, Carmens and friends, and hand over us theatres and means for new works and new friends!

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