I had to let go of a lot. At the beginning of the year I was in my “Macbeth” directing work for the Dresden State Theater. Suddenly there was lockdown, production had to be stopped, I sat at home and drove down from a hundred to zero. As I was thrown back on myself, I inevitably had to deal with myself. But I drew enormous strength from the rest and noticed what a vortex I was in before. Sometimes you notice that a change is imminent, but you still try to prevent it, even though it is good for you. For whatever reason.
How did you use this time? Have you changed something specifically?
Like many others, I was given a lot of time to reflect on my life and my tasks in it. I asked myself: am I actually happy? Is what and how I do it right? I put a lot of time into the music and recorded the “Macbeth” soundtrack with my band Woods of Birnam. Friendships intensified because I had more time for them. And I was able to enjoy arriving here near the Dresdner Heide, where I had moved before the pandemic.
That all sounds very forgiving.
Of course there was also a lot of negatives. You noticed the relevance of art in society – or not. Fortunately, it didn’t hit me as hard as an artist as others, but I’m still watching with great concern what is happening in the cultural landscape.
Are you lacking work?
Naturally! But for the health of everyone I can sometimes do without appearances. The fact that culture is losing face for a long time is far more creepy than my own renunciation.
Christian Friedel and his band Woods of Birnam © Ronald Bonß
The theaters have tried to deal with the new restrictions on the stage and in the auditorium. Do you think you succeeded?
In some productions I was amazed how little you noticed that there was more distance between the actors. But I also have to say: In the long run I am not interested in how intimacy is played through a pane of glass in the theater. Finding a new aesthetic in the theater under these conditions is a great challenge.
Many theaters have opted for digital forms. Is that the solution?
The digitization of theaters is just as backward as the digitization of Germany. There is a lot of filmed theater to see, but it often doesn’t convince me personally. I would be more interested in new formats, for example making-off formats. There is now the chance to reach viewers digitally and to make theater more transparent. There is still a lot of room for improvement.
Could theater develop plays specifically for the digital – and thereby reinvent itself a bit?
Absolutely, but then it’s going very much in the direction of film – and that’s a craft in its own right. We also thought about filming “Macbeth” professionally and showing it on the Internet. We decided against it: the force of such a staging cannot be transferred to a screen.
What is the music industry like? Are there any creative ideas?
The industry has been hit hard because for some years now it has not been possible to generate more income from sales of phonograms or streaming services. Now there are no performance options either. But we all hope that there will be normal concerts again in autumn.
A pop concert with distance rules is hard to imagine, right?
Yes, who would have thought that one day you would miss these experiences: that the biggest always jostles in front of you or that you always stand exactly where the line to the beverage stand is? But this is exactly what this crisis shows us: Art and culture are shared experiences that we are now missing.
“There is incredible power to tell yourself that we can only overcome this crisis together.” © Ronald Bonß
In your opinion, what does it do to people if they have to forego these collective emotional experiences?
It’s not good. That is why so many are outraged about how art was handled: People were still allowed to go shopping for clothes, but no longer to the theater. Art reflects life and being a human being, and shared experience enables a discussion with oneself and with society. Who reflects this in isolation, in times of absolute distraction? People seem lonely, restless or even angry.
The anger of the opponents of the measures is the result of an emotional accumulation?
Often it is primarily fear – and then comes the helplessness in how to deal with it. Some people then find support in a community that arises from the common outrage. A communal mob strengthens the lack of self-confidence and releases dangerous energy. Just look at recent events in America. One can only guess what the reasons are. Many people run away from themselves and get lost on the run.
What would the solution be? More theater, more music, more art?
There are many options and art is certainly one of the most beautiful. Many people know from their youth that a song helped them get over lovesickness. Or books, films and plays that made you feel like we are not alone. That is why I am absolutely in favor of having to offer cultural activities again soon – also in front of smaller audiences.
Now there will be no cultural events at least until spring …
That is tragic, but I can see something positive: because these restrictions affect us all, it is also a communal experience. There is incredible power to tell yourself that we can only overcome this crisis together. But you have to say that to yourself instead of just thinking about yourself.
It doesn’t look good for your “Macbeth” production either: The premiere has been postponed to autumn 2022. How much does it hurt you?
It was a decision for art, a performance with 37 artists on stage would not be possible at the moment. Still, letting go of “Macbeth” took a while. But I grew from it and I noticed that the time of the staging will also be good. Certain productions just need more breath.
You have often changed roles in the past few years: from actor to musician to director and back. What do you think: Can you get used to changes?
Even with great personal strokes of fate, I have always tried not to let myself fall too badly. Even during this crisis I tried to think positively – and yes, I had to force myself sometimes. A positive perspective is worth a lot more than just seeing the bad. Nevertheless, I am of course aware that it is a very difficult time for many at the moment.
How much does the willingness to change have to do with letting go?
Very much! For example, I had wanted to move to Berlin since I was a child. When I made the decision to stay in Dresden last year, it was very relieving. In 2021 there will be many great projects for me again: We are shooting a new season of “Babylon Berlin” and I will be part of an exciting international film. A new chapter can begin.
What would the heading for that be?
