Hartmann hat “Skandal nicht verursacht, without cover”

These damals are no longer theater directors and are not located in a different location for all operas. As “Creative Director of the Red Bull Media House”, an international Fernseh series has been created. “The special dieser series were, that is a network of different senders, of different countries developed, the results, that the protagonists of the series became the antagonists of the other series. I had to learn it”, it was written during the 61 years. im Interview with the APA. “That opportunity is a great, new enerfindungsreichen Mann with Mateschitz as Theater macher ainfach mal die Welt zu wechseln, war eeninzigartig.”

“Manchmal fehlt mir das Theatermachen natürlich sehr”, gibt der heute in Salzburg lived Director zu. That’s all there is to it. Positive points: “The more the theater is gone, the more I see the picture, the more clearly and the more visible the view is, the more comfortable it is.” And when you see this book: “Der Verlag hat sich aufgrund een ‘Spiegel’-Artikels, den ich geschrieben habe, von mir ein Buch als Liebeserklärung ans Publikum gewünscht: Warum hat das Publikum in den 30 Jahren am Theater seine Stimme los ?

I have Hartmann ein Theater der Fantasie gegen ein “Theater der Wohlmeinenden” (Zitat: “Der Kommunismus ist am falschen Menschenbild gescheitert. Das deutschsprachige Stadttheater auch.”) and found with a “Milchmädchenrechnung” “10 Punkte zur Rettung des Theaters”, there a subsidy system has been included that is becoming increasingly important in the public sector. “It’s great to have two archetypes in the theater industry, both of which have misunderstandings,” says Hartmann. “One said, my interest in the public is not, there are such statistics from another, a progressive, avant-garde, with a cleared view of things. The other said, is to make theatre for the public. That will comfort him then , indem er er badkere Kost macht , Comedies and musicals will both not be fun, the theatre on the Augenhöhe is both not homogeneous and arrogant !”

Das Buch got an impression of Schreiben eine gewisse Eigendynamik entwickelt: “I had gone, a book was written, was Theater in our early days and it was so entwickelt. Then I was able to read it, so I thought, and it was written plötzlich mich in dat Geschichte, a simple representation of a human being is indispensable and can no longer be found in the theater, so that this art comes from public opinion, connects it with my biography.

Matthias Hartmann writes – with many anecdotes -, who is heart-felt and soul-oriented, is a continuation of the first hospital, for those who are personally responsible for an Extra-Schulbefreiung, to attend visits in Bochum, Zurich and Vienna. A country that is in the Karriereabschnitt, the Höhe and Tiefpunkt wars. “I dare say with the Stolz, that the Burgtheater is not as full as I am in the time, as I have done the work I have done. Even though they spoke to me people in the U-Bahn and said: I have a good life in it. Theater experience, that’s a real experience”, sounds like the only Burgtheater-Director who has spoken to Vorvorgänger Claus Peymann, then dieser über seine wien-Besuche schwärmt.

“If the book then Gestalt annahm, hat me die Frage, ob ich the Burgtheater-Kapitel nor in a final öffne, sehr beschäftigt. And schließlich thoughte Ich: Ich schreibe hin, wie ich es empfinde, dass es schwer ist, dafür den richtigen zu I found it difficult and it wasn’t like I could read in the book that it wouldn’t be as good if it didn’t happen again, niece lost, son covered!”

“It is not a law book. It is a capital in the book. It is a good thing for me”, Hartmann, a freer person, who went further: His role in the financial scandal is another undertaking, as committed in the open air, is the ex-Burgtheater director’s report, that his 2014 hereditary release after the establishment of the criminal statute and the long-term legal battle in 2018 was circumvented in a mutual treaty resolution together with the exclusion clause. “With current knowledge, the parties have acted differently”, this is a dam in a joint statement. “While the long terms of both financial, contemporary and personal burdens were, both parties were comforted.”

In one of the stories we have heard about the Stellungnahme and the Manchen documentation and media reports, there are no critical comments on the commentary of Hartmanns Wirken am Burgtheater. “In details one of the in-depth investigative journalists (Rainer Fleckl, Anm.) is absent. I want to be prevented, but not even in a rechtfertigungsmodus to begin with”, says Hartmann.

Der Wiederbegegnung mit manchen Kontrahenten aus jener Zeit sieht der Theatermann, der “in den ersten Jahren nicht nach Wien gefahren” ist, “weil ich die Stadt zu hr liebe und der Schmerz deswegen zu groß war”, with interest entgegen: “I can mir during the frost it may be that the legend has been a war: the Hartmann is not daring, but it is worth protecting the man I think this is not the case Verzögerung can be a man in a book It is war and everything is a balla balla. The war is well played. It is a more exciting insight, if the man comes from nowhere, which functions like this.

Not for the police, if the problem occurs in the years that the film and theater industry pays more attention, there is a question of an umbrella offer or authoritarian publishers in the Bosse world. Also Hartmann blames as someone, if he has no idea, the power error in the postponed work. “That’s what I also lead”, he said. “That’s what you have to understand, but from which children’s room we came. We were taken from the biggest screeching halters, who had a freedom at the theater. We wanted to hide them, because they were not quite as ugly as that monster. After all, we have that of course The first things have ended up in the theater and the masses have been lost in both directions.

“Warum eine Pistole auf der Bühne nicht schießt” is a whole subjective Buch – and in many passages it does not take longer to be written. Erzählen is located at Theatermacher Matthias Hartmann. What is the end of the author of Lunte? “I have a great experience: my life is beautiful, my writing and my experience are clear – that is my Leiden phases. That art, that is not a problem, that it is good, that art, that quality, that it is wonderful However, if you still have another partner, who has written a word and thinks, then this is Malern, autoren or other composers can look forward to a grateful book that has been written Novel in writing, think about it: You will be happy with your work: Respekt, Respekt, Respekt!”

(Das Gespräch führte Wolfgang Huber-Lang/APA)

(SERVICE – Matthias Hartmann: “Warum eine Pistole auf der Bühne nicht schießt”, Ecowing Verlag, 192 Seiten, 26 Euro, Buchpräsentation: am 13. Oktober, 11 Uhr, Sträußelsäle des Theaters in der Josefstadt)