RUSSIA: Director Under House Arrest

Kirill Serebrennikov

The Russian Theatre Critics Association has issued a statement of its concern over undue pressure applied in the case of director Kirill Serebrennikov, who was arrested under cover of darkness in St. Petersburg and placed under house arrest in Moscow. An English translation of the critics' association follows here, with slight editing for clarity:

The Russian Theatre Critics Association, a national section of the International Association of Theatre Critics (AICT-IATC), has issued a public statement to express anxiety over pressure being exerted on theatre director Kirill Serebrennikov. 

Serebrennikov was deported at night by force to Moscow from St. Petersburg, where he was shooting a movie. The next day he was sentenced to house arrest by a regional court. 

The situation surrounding Serebrennikov grew more tense in July when the opening of the ballet Rudolph Nureyev, which he directed at Bolshoi Theatre, was canceled as controversial. 

Serebrennikov is accused of misusing funds that were targeted for a cultural project titled The Platform. One of the items in the prosecutor’s investigation implies that the production of Midsummer Night's Dream was not created at all. This assertion is false: the production has been seen dozens of times, it continues to run, received a range of reviews in various media, and was nominated for the national theatre prize, The Golden Mask. The investigation continues to assert that the work does not exist. 

There are deep doubts about the motivations for the prosecution of Serebrennikov. The responsibility of the stage director is unrelated to financial and production activities, which is covered by an investigation of the producer and the bursar for The Platform project. Serebrennikov never refused to answer questions in the course of the investigation of the case. 

His house arrest seems an unnecessary use of pressure on the artistic creator. Serebrennikov has never staged blatantly political performances. Nevertheless, the style and issues raised in his works are always fresh, unconventional, and truly innovative. The director was personally outspoken in support of liberal values. He was critical of the trial against the Pussy Riot group, of homophobic legislation, of church obscurantism, and he has supported transparent presidential elections. 

Just a month ago, the board of Europe Theatre Prize announced its decision to award Serebrennikov the New Theatrical Reality prize at this December’s event in Rome. 

Serebrennikov's impact in Russian culture is truly significant. He created several productions at the citadel of realistic theatre—the Moscow Art Theatre—and helped revive it for new audiences. He created The Seventh Studio of Moscow Art Theatre and educated a company of actors who used artistic language matched to a new dramatic style and thought for the generation now emerging. This group has undertaken The Platform project that received The Golden Mask in 2012, titled The Scoundrels, about right-wing radicals in contemporary Russia. 

Serebrennikov supervised the rebranding of a Moscow theatre house as the Gogol Center, which has attracted young crowds and become one of most thrilling places for drama in Moscow. Productions created by Serebrennikov generated discussion and sometimes controversy among its audiences. Now under house arrest, he is unable to complete a theatre production for the Gogol Center in addition to his film about the early the Russian rock 'n' roll generation that was shooting in St. Petersburg. His project of opera film of Hansel and Gretel at Stuttgart Opera house, filmed partly in Rwanda, must be postponed. 

The Russian Theatre Critics Association hopes that the international community of theatre critics will support our attempts to protect the social and artistic rights of Kirill Serebrennikov and of the evolving Russian artistic culture.                — August 24, 2017

Deadline's Greg Evans also reported on August 24 that the European Film Academy called for the "unconditional release" of Serebrennikov in an article that showed the director in an apparent holding cell. A tweet by Pussy Riot is quoted in the Deadline piece saying that Serebrennikov "had been placed under house arrest by 'Putin's butchers.'"

Holding cell? Kirill Serebrennikov Photo: REX/Shutterstock

TURKEY: World Theatre Day

Ancient Roots: Theatre at Ephesus, Turkey

As World Theatre Day 2017 approaches on March 27, thoughts of theatre artists and critics turn increasingly to global concerns over freedom of expression. In Nigeria recently, theatre critics hosted a forum aimed at examining the boundaries that face critics (and artists) when the political grounds on which they stand, to paraphrase the great playwright August Wilson, seem to undergo tectonic shifts daily.

Recent events in Turkey, a country that the West has long celebrated as a significant example of how democracy may work amid the pressures of encroaching theocratic impulses, have raised concerns about the lengths to which those in power will go to maintain a status quo. Turkey is also a physical crossroads of the ancient world where theatre has deep roots and a powerful claim on the imagination and spirit of the populace. Istanbul alone, which literally bridges east and west, may be the truest expression of the cosmopolitan in the dozens of languages and dialects spoken in its streets, and in the scores of cultures across millennia that have been inscribed on its urban landscape. The Theatre Critics Association of Turkey, a constituent group of the International Association of Theatre Critics (AICT-IATC), has issued a clarion statement that is filled with passion and a hopeful outlook for the future of the art form. It is brave, bold, and an inspiration in these times of uncertainty. (The translation below has been edited slightly for clarity.)

Turkish National Declaration for World Theatre Day 

We are at the threshold of twilight. The art of theatre, however, is the essential medium to lead us through the threshold and into radiant days. 

At present, academics who act for peace in our society, have been exported from their university. As a result of these actions, one of the oldest and most prominent theatre departments in Turkey is about to be closed. One of the private theatre schools, which has graduated many young members of the Turkish theatre scene, has been sabotaged by arson as the theatre supported the secular, parliamentarian republic of the present. Other private theatre groups are deprived of necessary state financial support. Theatre artists who stand in protest and call for support of environmental rights are exported from their municipal or state theatre companies. In these times, it is incredible to celebrate World Theatre Day and to perform the art of theatre, yet there is hope as well. 

We, the workers of theatre, never doubt the power of the theatre to change lives and transform people. The theatre is our sine qua non. 

Despite all obstacles it must face, theatre will continue to raise society’s awareness, to guide audiences to critical thinking, to defend freedom of thought and basic human rights, to conceive truth and to help the masses conceive it, too. 

Our word will never end, our curtains will never be closed by force, our limelight will never be extinguished, and our "fine voice" under this "dome of many colored glass" will never surrender to darkness.

In this time of rising insecurity for free expression, when a Pandora's Box of hateful ideology has been unleashed across the globe, one is forced to pause and consider: Will I be so bold when it is my turn to speak truth to power? Our colleagues in Turkey point the way.

OPEN LETTER: Oppression of International Artists

From Association internationale des critiques de théâtre / International Association of Theatre Critics (AICT-IATC)

AN OPEN LETTER ON THE OPPRESSION OF INTERNATIONAL ARTISTS

In the wake of governmental repression of theater artists in Hungary and, more recently, in Belarus, the International Association of Theatre Critics (AICT-IATC) adds its voice to the global chorus calling for greater freedom on the pages of publications and on the stages of oppressed theatre companies.

As a non-profit, Non-Govermental Organization recognized under Statute B of UNESCO, the purpose of the IATC is to promote international cooperation through international engagement and advocacy for building bridges among cultures. In the recent repression and imprisonment of theatre artists, Aleksandr G. Lukashenko gives credence to critics who have called Belarus “the last true remaining dictatorship in the heart of Europe.” According to the New York Times, the deeply contentious election of December 19, 2010, after which Lukashenko claimed to have received 79 percent of the vote, led to the leader's announcement that more than 600 “bandits and saboteurs,” including several of his opponents, had been arrested.

The leadership of the IATC is deeply disturbed by the rising international tide of oppression of the arts and literature, especially of theatres and theatre artists. We deplore the conviction and brief imprisonment of Belarus Free Theatre's company manager Artiom Zhelezniak on charges of "illegal assembly." We celebrate the departure from Belarus of company members Nikolai Khalezin, Natalia Kolyada and others, who have been recognized internationally and were honored with a "Special Mention" by the Europe Theatre Prize.

Members of the IATC are theatre critics, but we are also theatre advocates and we will resist all governmental attempts to censor or otherwise marginalize the important work of our global theatre artists. When some artists and writers are not free to think, work, and create in an unrestricted manner, we all suffer a loss of freedom and of human possibility.

We call on all who love freedom—artists, audience members, governments—to rally against these specific oppressions, to agitate for greater creative freedom, and to join our voices in support of those who cannot, or may not, speak for themselves. We encourage our members to shine a bright light on these events and to keep these matters in the forefront of our global artistic discourse.

If we join together in this struggle, we shall prevail.

Sincerely,

Yun-Cheol Kim, President (Korea)
Michel Vaïs, Secretary General (Canada)

International Association of Theatre Critics (IATC)

Association internationale des critiques de théâtre (AICT)

LETTER: Response to Hungary Media Law

Andrea Tompa, President
Hungarian Section
International Association of Theatre Critics

Dear Andrea,

The International Association of Theatre Critics fully supports your section’s fight for freedom of expression in theatre and arts. The new media law of your government is dangerous, anti-cultural and anti-intellectual, which obviously attempts to go back to that archaic practice of censorship.

Theatre has always reflected human societies and one of its essential functions is to criticize social complacency to better recognize and understand the world and the humanity. IATC deplores strongly any governmental attempts to control the arts, culture and media, whose critical performance has become even more important in this 21st century of globalized culture.

It is a great pity that such a culturally advanced country like Hungary is trying to implement its control over the arts, artists, and the media. IATC strongly demands that the Hungarian parliament and government withdraw this shameful media law and guarantee its artists freedom and independence.

Otherwise, we will make this issue big and global so that the world may know the danger and corruption in this new media law and its implementation in the form of replacing legally appointed, competent and ambitious artists with docile figures.

Sincerely,
Yun-Cheol Kim
President, International Association of Theatre Critics
Dean, School of Drama, Korea National University of Arts

REPORT: Arts Freedom Under Threat in Hungary

From the HUNGARIAN THEATRE CRITICS ASSOCIATION, a section of AICT-IATC, forwarded to the United States section by Secretary General Michel Vaïs


Róbert Alföldi

A highly-contested and controversial “media law” of the present government promises serious control over the whole media, including blogs. The new Media authority—formed by members of the ruling party—will have the entitlement to control and punish. This week, independent cultural papers and sites are published with a blank cover page as a protest sign against this control.

Governmental attacks on the National Theatre and its artistic director, Róbert Alföldi, were only rumors until the “case” was recently discussed on the floor of Parliament. Members of Parliament described Alföldi as deviant, rowdy, and treasonous, and called the present National Theatre dangerous and mischievous. They are calling the work presented in the National Theatre obscene, pornographic, anti-national, and anti-Hungarian, and are demanding the expulsion of director Alföldi from the National. The Secretary of the Ministry of National Resources commented: “Everything will happen in due time.”



On December 1, one of the parties of Parliament, Jobbik, organized a demonstration next to the National Theatre’s building with the sole purpose of replacing the director. Artists, writers, critics, and theatre goers—organized by a Facebook group—also gathered in front of the National marking their sympathy for this theatre and artistic freedom. Since the beginning of Alföldi’s tenure in July 2009, the National Theatre has prospered and undergone an artistic rebirth. The director was awarded the precious Critics’ Prize in September 2010 for “renewing the National Theatre.” He also received a similar prize from the City Council of Budapest. Many works presented in the theatre received international critical acclaim were invited to international festivals.

Alföldi’s contract does not expire until June 30, 2013. His dismissal would mean the termination of this contract without any legal base, and this, consequently, could create a dangerous precedent: from that time on the leader of any cultural institute could be dismissed based on the aesthetic ideal of a given political party.



Another major cultural institution in the country, the Opera House of Budapest—the best financed institution—is also undergoing difficult times. The artistic director of the Opera, Balázs Kovalik, an internationally celebrated director, was dismissed this past summer. There is still no appointed general director to take his place.

Because appointments of theatre directors in the provinces are made directly by the local governments, decisions were often based on political sympathies for the ruling political party. This has been always the same, indifferent of political climate. The process has a legal face and an illusory professional basis, because seemingly directors’ applications and eventual appointments are based on competition. There is a board of professionals who evaluates the applications and makes recommendations to the local government. But this board is either formed of people with a particular political view who are certain to make the “right” decision, or it is an indeed free board whose proposal is not taken into consideration. This situation was recently repeated when the new artistic director was named to the theatre in Tatabánya, and a fine previous leadership was replaced.

The independent theatres in Hungary are most vulnerable in this current climate. This is the field that is most mobile, young, and willing to take artistic risks; this is the field that contains all dance companies, and most of the production houses and freelance artists. It has been only one year since the so-called theatre law, which guarantees for the first time that a minimum 10% of the total budget for the national theatre subsidy goes to independents, came to operate. One of the new cultural leadership’s first actions was to cut this subsidy, although it is such a microscopic part of the whole budget.

The theatre law will undergo a serious rework in the spring 2011, and there is little hope that the 10 percent for independents will be maintained. We are addressing you, the international theatre and media community, because we want to preserve the freedom of artistic expression and speech we gained 20 years ago after the social changes.