The 9th Financial Community Update under the heading “Drama in Finance” brought two worlds together which apparently have little in common: Theater and the financial industry. Mr Volker Hesse, artistic co-director of the “Welttheater Einsiedeln” and former director of the Maxim Gorki Theater Berlin and the Theater Neumarkt in Zurich is known to the wider audience for his production ‘Top Dogs’. He discussed the commonalities of theatre and the economy with the author Nicole Müller and ascertained what both worlds could learn from each other.

Drama and show in the world of finance are nothing new. The personalization of protagonists and the increasing scandalization have established themselves as indispensable stylistic devices in the media. Finance topics have thus become more attractive for a broader audience. Yet the theatre rarely picks up topics from the sphere of finance or the economy, despite the fact that “the economy very often defines the processes which have a very direct impact on people’s life”, as Volker Hesse puts it. In its long history, classical theatre was usually concerned with different themes.

The reasons for this fear of contact are manifold. According to Hesse, actors and artists have only little knowledge about the economy as a system and view managers as sharks, generally suspicious protagonists in the capitalistic struggle. During the preparations for his piece ‘Top Dogs’ he noticed that many managers are unable to evade from their self-imposed rational mindset. Even in extreme situations – e.g. a lay-off – managers tend to denigrate their personal situation while their highest priority is to resume previous habits of thought and action.

In reaction to Nicole Müller’s question how managers could make use of an actor’s skills to perform convincingly in public, Hesse made clear that there is no patent remedy. Of course, body language is eminently important, but advices like “chill, be more casual” rarely bring about the desired effect.
Convincing appearances require inner conviction; one has to be “coherent with oneself”. Dilemma situation must be mitigated, self-denial avoided at any price.

Volker Hesse observes the elements that produce credibility in leading personalities: Composure and calm backed by experience fuel the power of persuasion. Alien posing must be avoided; one has to “be with oneself”. The idiosyncrasies of a personality are its strength. E.g. the appearance of Angela Merkel during the German electoral campaign demonstrates that unorthodox individuals can be highly successful. Authenticity leads to increased truthfulness.

Volker Hesse argues that good managers – if they wish to augment their quality of life – should try to think more outside the economic and rational sphere. Therefore, literature and art are hugely enriching starting points. People from both finance and theatre should endeavour to engage in a dialogue and mutually reflect their views of the world. Nicole Müller concluded to the point: “One does not get around theatre” – convincing performances inspire the theatre and the financial industry alike.