White, cis-gendered and able-bodied men continue to hold the vast majority of managerial and directorial positions in municipal and state theaters in German-speaking countries. Women*, queer people, people with disabilities, people of color are underrepresented, especially in artistic leadership positions. White, cis-gendered and able-bodied men continue to hold the vast majority of managerial and directorial positions in municipal and state theaters in German-speaking countries. Women*, queer people, people with disabilities, people of color are underrepresented, especially in artistic leadership positions. Her work is relocated to the independent scene, which is characterized by economic insecurities and self-exploitation. The biggest paradox of the German cultural scene is that although it deals critically with the exploitative processes of the present on the artistic side, it reproduces them itself in its structures. The problem of the hierarchical and patriarchal theater business remains: those responsible (usually male, white and heterosexual) decide who is given which space. Structural oppression in the theater: a never-ending story?
Our initiative brings together all those who want to change something about it. The network consists of theater makers who work on and behind the municipal theater stage as well as in independent theaters in production, dramaturgy, performance and direction. We* are white and PoC, have different socio-economic backgrounds and different sexual orientations and identities. We* see ourselves as intersectional feminists who not only consider the balance of power between “men” and “women”, but all groups marginalized by the patriarchal system. Together we form the INITIATIVE for SOLIDARITY at the THEATER (ISaT).
We* join forces to stand up for more solidarity together. Out of isolation, into an intersectional alliance - with the awareness that the we* consists of many who are exposed to similar resistance at work. In doing so, we* want to concentrate on uniting the various struggles and, in particular, on giving a voice to those who have not yet found a lobby in existing networks. The network should be open to everyone who can understand our description of the theater system and who would like to show solidarity with the work of the network (regardless of whether they feel marginalized themselves).
We* want to enter into a meaningful, productive dialogue with decision-makers* and institutions, and work together to create spaces in which racism, misogyny, sexism and discrimination against "non-conforming" bodies and identities can be addressed and combated. Our aim is to address the subliminal and unconscious forms of discrimination that can be found in the everyday actions of theater professionals, despite critical awareness and cultural education. It is also a central concern to name and combat the exploitative working conditions that are accepted in the name of art.