In a press release, the festival stated: “In particular due to Marina Davydova’s unreported and unsanctioned activity at a theater festival in Berlin, the Salzburg Festival immediately terminated the employment relationship with Marina Davydova. The resolution of the board of directors – Kristina Hammer, Markus Hinterhäuser and Lukas Crepaz – was presented to the board of trustees and approved. The board of directors of the salzburg Festival regrets this progress.”
APA/TOBIAS STEINMAURER
Marina Davydova should have presented the 2025 acting program next week as part of the festival program presentation
The active direction is being re-advertised
Board of Trustees circles said on Thursday that Davydova had repeatedly criticized the festival in public and had not always clearly drawn the line between business trips and private trips. “Above all,she clearly did not deliver what was expected of her in her acting,” a member of the board of trustees told the APA. The board of trustees also decided to re-advertise the position of acting management.
Davydova is part of the two-person “Art Committee” at the Voices Performing Arts Festival in Berlin, which runs until Friday. one of her plays was also part of a seven-hour reading there. Davydova should have announced the festival’s acting program for 2025 in
The Salzburg Festival parted ways with its acting director
The Salzburg Festival is parting ways too soon with its acting director, theater maker Marina Davydova.
Fuss about the new production of “Everyman”.
the main feature of this year’s first season was the unexpected new performance of “Everyman”. Directed by Robert Carsen, Philipp Hochmair took the role of Everyman, Deleila Piasko played the prostitute. Audiences celebrated this production this summer – more on this in Much Enthusiasm for the New “Everyman” (salzburg.ORF.at; july 21,2024).
Before that, Davydova caused a stir in October 2023: She unexpectedly announced the cancellation of the production from the summer of 2023 with Michael Maertens as Everyman directed by Michael Sturminger. At that time she spoke of a “very challenging decision” that one person could not make alone. At the time, the Intendant Hinterhäuser did not want to comment on this. Maertens and Sturminger were “surprised and surprised” – no one had spoken to them before the deposition, they said.
He would be in office until 2026
The Russian exile was in office from October 2023 – and actually had a contract until autumn 2026. Davydova was born in Baku
Davydova was a theater critic, editor-in-chief of the magazine “Teatr.”, curator and festival director. With the New European Theater (NET) festival, she was partly responsible for the Russian theater boom of the mid-2000s, which was brought to an end by the policies of President Vladimir Putin.
What are the potential long-term effects of leadership changes at prestigious arts festivals like the Salzburg Festival?
Interview between Time.news Editor, Alex reiner, and theatre Expert, Dr. Emilia Gruber
Alex: Welcome, Dr. Gruber. Thank you for joining us today. The recent termination of Marina davydova from the Salzburg festival has raised numerous eyebrows. Could you share your thoughts on what this development might imply for the festival’s reputation?
Dr. Gruber: Thank you for having me, Alex. Marina Davydova is a well-respected figure in the theater community, and her abrupt termination due to what the festival describes as “unreported and unsanctioned activity” raises notable questions. It casts a shadow on the festivalS governance and its internal dialog processes. A decision like this can lead to a perception of instability, which is particularly concerning for an institution with such a prestigious history.
Alex: That’s an engaging point. The press release mentioned the involvement of the board of directors—Kristina Hammer, Markus Hinterhäuser, and Lukas Crepaz—in this decision. How crucial are leadership dynamics in such cultural institutions, and what could this indicate about their internal relationships?
dr. Gruber: Leadership dynamics are vital in any organizational context, especially in the arts where collaboration and vision can greatly impact outcomes. the unanimous decision from the board might suggest cohesion among the leaders, but it also raises the question of openness. If Davydova’s actions were indeed unsanctioned, there should be clearer guidelines and communication protocols in place to prevent such actions and the resulting fallout. This situation could indicate that there may be deeper issues regarding the festival’s operational framework.
Alex: You mentioned transparency. Given the current climate in the arts world, how should institutions like the Salzburg Festival handle such sensitive situations publicly?
Dr. Gruber: Transparency is essential. Festivals and cultural institutions must be clear about their processes and the rationale behind significant decisions, especially when they involve high-profile individuals. They should provide a more complete context in their communications, which not only addresses the specific incident but also reassures the public about their commitment to artistic integrity and ethical practices.
Alex: It seems this incident could serve as a cautionary tale.What broader implications does this have for arts festivals globally, particularly regarding artist autonomy and institutional control?
Dr. Gruber: Absolutely. This incident shines a light on the delicate balance of autonomy and control in artistic settings. Many festivals and institutions face the challenge of nurturing creative freedom while maintaining a structured surroundings. If leading festival bodies start to restrict or penalize creative activities without clear dialogue, it could discourage innovation and risk alienating artists. We could see a shift in how artists choose to engage with potential collaborators if they feel their artistic expression is at risk.
Alex: Given your expertise, do you think this incident could lead to reforms in how festivals communicate with their staff and community to prevent similar occurrences?
Dr. Gruber: I certainly hope so.Such incidents can be catalysts for change. If festivals and arts organizations take this opportunity to reflect and reform their internal communication strategies,it could lead to healthier artistic environments. Clearer guidelines, open forums for discussion, and processes for conflict resolution could empower artists and contribute to a more collaborative atmosphere.
Alex: Thank you, Dr. Gruber, for your insights. It’s clear that while this incident is unfortunate, it has the potential to spark meaningful conversations about governance and the arts.
Dr. Gruber: Thank you for having me, Alex. I look forward to seeing how the Salzburg Festival navigates this situation moving forward. It’s essential for the arts community to learn and grow from these experiences.