Hávar Sigurjónsson:
We are witnessing some strange times here on Iceland. When the bank system crashed last autumn it caught most of us by surprise. We were perhaps aware that the good times weren’t going to last forever, but had no inkling of the vast proportions of the economic fraud.
Iceland is a small country with few people. Everybody knows almost everybody else. Historically, the wealthy used their fortunes wisely and as long as they didn’t wave their privilege in the faces of others, the division of national wealth was to a great degree uncontested.
The “good” years brought with them a social class that constituted a handful of ruthless individuals with “new” money, who believed that they could do exactly as they pleased. They were proud of their complicity with the system were quick to draw profit from it. They were not interested in hiding their wealth; on the contrary, they showcased it gladly.
The tabloids regularly described flamboyant parties with internationally famous pop stars and reported the purchases of luxury cars, private jets and yachts. There seemed to be no limits. The rich were active in cultural circles, donating money to art institutions, funding theatrical productions and sponsoring orchestras. The press applauded them and published long articles praising their interest in arts and culture. Those who commented this trend and voiced an opinion that the art scene should be supported by the national government were laughed at as eccentric or anachronistic. Others preferred to remain silent before this fountain of wealth and desire for luxury.
The crash left most of the country’s art establishments defenseless since their erstwhile supporters could no longer support them and their government subsidies had stagnated for several years. The liberally minded government had for the past 18 years gradually decreased government support for art and culture and encouraged cultural organizers to seek private sponsoring. It is not a very uplifting situation. The sponsors are gone, occupied in hiding what remains of their fortunes. The system of state support must be rebuilt from the ground. Culture and the arts will probably be placed at the bottom of the list while massive efforts are mounted to save home-owner’s and businesses from bankruptcy.
This is the current situation in Iceland, and something that the theatre will certainly be addressing over the next few years. It is time to analyze our society and illuminate its structures, to make the theatre visible in the arena of societal discourse. Rather this, then to offer the public mindless entertainment and escape. Entertainment is something we have enough of. The artistic directors at our theatres today shoulder an enormous civic responsibility and must commission new plays that will comment current events and help Icelanders win a self-respect built on the solid foundation of reality and equality, rather than affectation and vanity.
27th of January 2009
Hávar Sigurjónsson is the Chairman of Icelandic Dramatists’ Union and playwright