Karl Regensburger: "I like to be beaten by my team"

Karl Regensburger, 72 years old and currently serving as the longest-serving Intendant of Vienna, has expressed concerns over the intense workload his team faces during this year's ImPulsTanz festival. The event, which began on August 17, continues until August 9, marking its 35th edition. Known for its high artistic standards and international appeal, ImPulsTanz was founded in 1984 by Regensburger and dancer Ismael Ivo, and has since evolved into one of Europe’s leading contemporary dance festivals. Regensburger admitted that despite initial doubts following last year’s success, the current season has exceeded expectations. With 22 additional performances scheduled, bringing total ticket sales to around 13,000, he noted that the festival is operating near capacity. However, he acknowledged the physical strain on staff, stating that they are working close to their limits. He explained that while the team would ideally like to add more shows, doing so would compromise necessary rest periods and limit opportunities for employees to view other productions. On some days, up to seven evening performances take place simultaneously across venues such as the Burg, Volkstheater, and Akademietheater, with further late-night shows at locations like the Odeon or Schauspielhaus. The intensity of the schedule has led to moments of stress, particularly when technical issues arise, such as the recent failure of air conditioning systems in certain venues, forcing teams to scramble for repairs before performances begin. Regensburger humorously remarked that he would willingly face “being beaten” by his team due to the overwhelming demands of managing such a dense program. Despite these challenges, Regensburger believes the festival is still far from being overwhelmed. He pointed out that all major venues remain fully booked, with long waiting lists for tickets. While he agrees that extending the festival’s duration could help reduce the density of performances, he emphasized that the current model allows for higher revenue generation compared to similar events. He noted that although the festival receives approximately 5.6 million euros in subsidies, split between the city and federal government, the income generated through ticket sales and sponsorships nearly matches this amount. This financial balance has allowed the festival to maintain a high degree of self-sufficiency, though Regensburger acknowledges the growing competition from other festivals, notably the Wiener Festwochen. He cited past collaborations with renowned artists such as Anne Teresa De Keersmaeker and Ivo Dimchev as examples of how other festivals have encroached on ImPulsTanz's traditional territory. Despite these tensions, he stressed that he does not hold resentment toward the artists who choose to perform elsewhere, acknowledging that audiences often seek out the biggest names. One notable performance this year is Trajal Harrell’s solo Music Music, originally presented at the Wiener Festwochen. Although Harrell received substantial production funding from the latter festival, Regensburger noted that such support is not feasible for ImPulsTanz. Nonetheless, the festival has expanded beyond just this piece, featuring a dialogue between Harrell and Fado singer Lula Pen. This collaboration highlights the festival’s ongoing commitment to diverse and innovative programming.