Theater am Kirchplatz TaK
The Theater am Kirchplatz TaK in Schaan is one of the most important cultural platforms in the Principality of Liechtenstein and the Liechtenstein- Vorarlberg - Eastern Switzerland region . The house brings leading theaters from German-speaking countries into the country and, in addition to theater, also organizes concerts, cabarets, comedy, dance, literary events and theater for children and young people. The Theater am Kirchplatz TaK was founded on January 8, 1970. Its sponsors are the State of Liechtenstein and the two municipalities of Schaan and Vaduz .
History of origin
The theater building was built before the First World War , in 1913/14. At that time it was a club house, in which various public events such as theater performances, gymnastics and meetings took place. Former Russian prisoners of war lived in it towards the end of the First World War. In the 1940s it served as an emergency school. It was not until 1968 that the Schaan community acquired the house and subjected it to extensive renovations. As a Catholic clubhouse, it was used by the parishioners as a multi-purpose building. It was only with the arrival of the "Kabarett Kaktus" in 1970 that the house developed into the "Theater am Kirchplatz TaK". The group "Kabarett Kaktus" was founded in 1964 in Vaduz. The main author and director of the group was Alois Büchel , who played a central role in the “Kaktus Cabaret” and the “Theater am Kirchplatz TaK”: Under his leadership as the first director , the “Theater am Kirchplatz TaK” developed into an internationally acclaimed multi-branch house.
"The realization of this small theater is the result of years of efforts by culturally interested circles and above all by today's director Alois Büchel ..." wrote the magazine "werk / œuvre" in 1975 on the work and influence of Alois Büchel.
The “Theater am Kirchplatz TaK” project was preceded by two attempts: In 1966, Alois Büchel and his group raised money for a theater project. The Zurich architect Ernst Gisel was then commissioned to prepare studies for the conversion of an old bailiwick barn in Vaduz. A year later - in 1967 - the architect received another order: It was about the studies for a new building at the foot of the princely vineyard. However, the two projects met with resistance in the capital of Liechtenstein. “Kabarett Kaktus” finally found a place for the planned project in 1970 in the neighboring village of Schaan and in its Catholic clubhouse. This was the first time that a Liechtenstein theater had its own venue.
The “Theater am Kirchplatz TaK” was founded on January 8, 1970. It opened with the premiere of the fourth program of the Liechtenstein “Cabaret Kaktus” program. Under the direction of the first director, Alois Büchel, the concept of the house changed: the multi-purpose house developed into a well-known cultural institution in the Liechtenstein-Vorarlberg-Eastern Switzerland region. In the main hall there were theater performances - guest performances and in-house productions. The foyer was used for other cultural events: gallery operations, lectures, dance festivals, small and large meals. If there were no events in the foyer, the room served as a reading room, bookstore, café and bar, as well as an advance booking point.
Because of its limited space, the “Theater am Kirchplatz TaK” was unfavorable as a cultural center, which is why the Zurich architect Ernst Gibel was commissioned again: The club house was to be converted into a theater and multi-branch building. The renovation cost around 1.5 million Swiss francs and was completed within a short time and during the summer break in 1972. On October 20, 1972, the newly renovated cultural center was inaugurated and the “Theater am Kirchplatz TaK” cooperative was the legal owner of the house.
Conversion of the club house to the theater
The Zurich architect Ernst Gisel told the magazine "werk / œuvre" in 1975: “ When you renovate, you come up with ideas that you just can't get to in a new building ... For example, it would hardly be conceivable that you would see the audience in a new building would first lead down from the street to the basement and then ask her again to go up to the theater. But that's exactly what we did in Schaan. It was the best solution. And it is perhaps precisely this abnormal and unfamiliar that brings movement into the matter and creates its charm. "
The reason for the conversion was the limited space available. The perimeter walls of the building remained. Only the roof changed because of the new stage . New was the cylindrical, attached entrance, through which the audience reached the foyer, which was in the basement, via a wide spiral staircase. From there another staircase led up to the theater hall, which spread out over the entire ground floor. During the renovation in 1972, the main aim was to increase the number of spectators to 400 so that the economic basis and administration were justifiable. The stage opening was expanded to 8 meters wide and the height of the same could be varied between 3.55 and 4.45 meters - depending on the performance. From then on there was a connection from the stage to the artist's dressing room. Furthermore, a direct stage exit to the street was built so that scenery, costumes and props could be loaded without any trouble. Despite the confined space, the Zurich architect Ernst Gisel found ways to set up side stages over which backdrops could disappear.
The Alois Büchel era
Under the direction of the first theater manager Alois Büchel, the "Theater am Kirchplatz TaK" developed to an international level. Alois Büchel brought famous artists such as the actress Therese Giehse and the jazz pianist Oscar Peterson to the country. “Theater am Kirchplatz TaK” became known beyond the national borders and the events were mostly sold out. Swiss television recorded five of the in-house productions directed by Alois Büchel and the productions were broadcast by other German-speaking television stations. Popular in-house productions included “ Schweig, Bub! "(1983/84)," Waiting for Godot "(1988) and" The end of the beginning "(1989). Because of his contacts and successes, Alois Büchel was a celebrated theater director for many years. Thanks to his work, the “Theater am Kirchplatz TaK” has attracted over 100,000 visitors a year. Over time, Alois Büchel opened a cinema called "TaKino".
Nazi opponent Alois Büchel also addressed taboos in his cabarets and attacked the Liechtenstein company founder Martin Hilti , a former admirer of Julius Streicher's . When Büchel announced Max Frisch and the church-critical theologian Hans Küng in the series “Reden über Liechtenstein” in 1991 , the director finally broke a taboo. He was subsequently released in 1992. With his dismissal, the "Theater am Kirchplatz TaK" suffered a major collapse.
The time after 1992
As regulated in the contract between the municipality of Schaan, the “Theater am Kirchplatz Tak” cooperative and Alois Büchel, the municipality was responsible for the maintenance of the building. But she refused to fulfill her duty, which led to a dispute with director Alois Büchel. After Büchel's release it was recorded in an investigation report that the municipality of Schaan had neglected its maintenance obligations to such an extent that the safety of the TaK employees was seriously endangered. The theater had to be temporarily closed.
"After Büchel's departure a few months ago, which was unpleasant for everyone involved, the" Theater am Kirchplatz TaK "has lost all profile in terms of cabaret ..."
The municipality of Schaan only carried out a major renovation in 1995. In 1996 Georg Rootering took over the artistic direction of the "Theater am Kirchplatz TaK", which has only made millions in losses since Büchel's dismissal and lost the trust of subscribers, members of the cooperative and sponsors. Only under the leadership of Rooterings did it regain its reputation and in 1998 closed again with black numbers and a profit of 185,000 Swiss francs.
In 2005 there was another renovation and expansion of the premises.
literature
- Jürgen Schremser: Theater am Kirchplatz (TaK). In: Historical Lexicon of the Principality of Liechtenstein . December 31, 2011 , accessed June 17, 2019 .
Web links
Individual evidence
- ^ A b c Jürgen Schremser: Theater am Kirchplatz (TaK). In: Historical Lexicon of the Principality of Liechtenstein . December 31, 2011 , accessed June 17, 2019 .
- ↑ a b c History of the TAK. In: TAK - Theater Liechtenstein. Retrieved June 17, 2019 .
- ↑ a b c d e Ursula Rellstab: Theater am Kirchplatz Schaan FL . In: Das Werk: Architektur und Kunst = L'œvre: architecture et art . tape 62 , 1975, pp. 720 , doi : 10.5169 / seals-47854 ( e-periodica.ch [accessed June 17, 2019]).
- ↑ a b c d Andreas Fragetti: Public enemy against will . In: WOZ . February 9, 2017 ( woz.ch [accessed June 12, 2019]).
- ^ Jürgen Schremser: Theater. In: Historical Lexicon of the Principality of Liechtenstein . December 31, 2011 , accessed June 17, 2019 .
- ↑ Ursula Rellstab: Theater am Kirchplatz Schaan FL . In: Das Werk: Architektur und Kunst = L'œvre: architecture et art . tape 62 , 1975, pp. 723 , doi : 10.5169 / seals-47854 ( e-periodica.ch [accessed June 17, 2019]).
- ↑ Richard B. Reich: Cheeky little plant in Liechtenstein's cabaret desert . In: Neue Zürcher Zeitung . No. 82 , April 9, 1994, pp. 15 .
- ^ Daniele Muscionico: updrafts in Liechtenstein . In: Neue Zürcher Zeitung . No. 198 , August 27, 1999, p. 66 .