Currently viewing the tag: "german theatre"
An exhaustive catalogue of all the online programming theatres in the German-speaking world have made available since Covid-19 forced them to close their doors.
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[This text has been accepted for publication and will appear in a revised form in Theatre Survey 59.2 (May 2018) (published by Cambridge University Press); copyright (c) 2018, American Society for Theatre Research.]
“But everyone who is in favour of a living theatre will no longer be […]
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Almost two years ago, the Berlin government announced that Frank Castorf’s contract as the artistic director of the Volksbühne would not be renewed after the end of his current term in the summer of 2017, and that his successor would be Chris Dercon, at that point Director of the Tate […]
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One might say that Nicolas Stemann doesn’t so much stage The Merchant of Venice as interrogate the play – or the very possibility of staging it now. That would only capture part of what this production is up to, but it’s an important part – and the part that would be most unusual in an […]
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For years now, I have been trying to figure out and describe what exactly is so special about German theatre. In some ways, particularly from the perspective of the English-speaking theatre world, it may seem like I’d need to draw up a pretty long list of oddities: no historical costumes, no respect for the text, […]
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An empty stage, sliced diagonally in half by dolly tracks running from downstage right to upstage left; on those tracks, a grand piano on a cart, equipped with a microphone for the player. The pianist enters, sits at the piano, and starts a tentative vocal improv. Lights off. The cast shuffle on. Lights up. Actors […]
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I should be writing about the two Woyzecks I’ve seen this week, and about Karin Henkel’s fantastic John Gabriel Borkmann. But the other thing I’ve been watching, other than plays, is Q&As – and I have a few questions.
They’re a funny ritual, those post-show talkbacks. At Theatertreffen, they’re obligatory: most of the cast, the […]
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Berlin’s Maxim Gorki Theater, under the new artistic leadership that took charge last season, has quite aggressively redefined itself as what they call a post-migrant theatre — building an ensemble deliberately designed to reflect the multi-ethnic makeup of contemporary Germany (and especially contemporary Berlin), and staging a repertoire in which new plays, often with an […]
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Holger Syme's work is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License.Images may be reused as long as their source is properly attributed in accordance with the Creative Commons License detailed above. Many of the photos here were taken at the Folger Shakespeare Library; please consult their policy on digital images as well.
