Germany Archives - Page 4 of 9

Performing Again: An Interview With Michael Vogel And Familie Flöz At Schiller Theatre

Posted by Armando Rotondi | 11th Sep 2020 | Devised Theatre, Germany, Interview

Led by artistic directors Hajo Schüler and Michael Vogel, Berlin-based “Familie Flöz” is one of...

Listening in Detail – Alma Söderberg

Posted by Alma Söderberg | 7th Aug 2020 | Germany, Interview, Transmedia

Theatres remain closed, so instead of publishing reviews of new pieces, Etcetera asked artists to...

Nils Haarmann On The Pandemic And Post-Pandemic Theatre

Posted by International Online Theatre Festival | 27th Jul 2020 | Covid-19, Germany, Interview, IOTF 2020: Archives, Theatre and Pandemic: Asynchronous Discussion Panel at IOTF2020

Nils Haarmann – dramaturg at the Schaubühne – responds to Grzegorz Jarzyna. The discussion focuses...

Theatre United Against a Shift to the Right

Posted by Anja Quickert | 16th Jul 2020 | Germany, Interview, Theatre and Politics

Pressure on the German theatre and cultural landscape has increased significantly since the...

Stage Design: Tradition of Diversity

Posted by Nadine Berghausen | 10th May 2020 | Design, Germany, Interview

Germany has more theatres and concert halls than almost any other country in the world. From its...

The Crisis Stage

Posted by Lara Staal | 24th Apr 2020 | Essay, Germany, Theatre and Science

In times of crisis, we see just how closely reality and fiction really are. What seemed like a...

Alice Birch and Katie Mitchell’s “Orlando” at the Schaubühne Theatre: Queer Desire on the Big Screen

Posted by Aleks Sierz | 23rd Apr 2020 | Adaptation, Directing, Germany, Review, Theatre and Film, Theatre and Gender, Transmedia

Virginia Woolf’s reputation has closely followed British cultural trends: in the interwar years...

Simon Stephens’ “Maria:” Aggressive Optimism is Saving the World

Posted by Mila Bulimbasic Botteri | 1st Apr 2020 | Germany, London, Review, United Kingdom

“The theatre is a device for empathy – its job is to create better people.” Those are the words of...

Who Am I, The Author? But Who Is The Author?: An Interview With Ulrike Syha

Posted by Ivanka Apostolova Baskar | 7th Mar 2020 | Germany, Interview, Playwriting

Ulrike Syha was born in 1976 in Wiesbaden, Germany. She studied Dramaturgy at the Hochschule für...

“Judgement Day”: Illusions of Grandeur

Posted by Jonathan Kalb | 22nd Dec 2019 | Germany, Review, United Kingdom, United States of America

Two years ago, the British director Richard Jones brought a stunning production of Eugene...

Bodily Dressage: Cruel and Optimistic Pleasures of the Speaking and Moving Body

Posted by Lisa Moravec | 20th Dec 2019 | Austria, Festivals, Germany, Theatre and Dance

Researcher and critic Lisa Moravec explores how two performances of this year’s ImPulsTanz,...

“History of Violence” and How Your iPhone is a Culprit

Posted by Jonathan Kalb | 12th Dec 2019 | France, Germany, LGBTQ+ Theatre, New York, Review, Theatre and Politics, United States of America

First of all, don’t be put off by the pompous, academic title. Thomas Ostermeier’s...

Denying A Harsh Reality in “The History of Violence”

Posted by John Brunner | 26th Nov 2019 | France, Germany, Review, Translation

It opens with a manic attempt to clean. The sheets, the floors, the smell of the air, everything...

“The Eighth Life (for Brilka)”: Dark Chocolate

Posted by Emiliia Dementsova | 31st Oct 2019 | Festivals, Germany, Review, Russia, Theatre Olympics 2019

The Eighth Life (for Brilka) or Das achte Leben (Für Brilka). Adapted by Julia Lochte and Emilia...

How to Stage an Opera? Summer Munich Opera Festival as a Role Model

Posted by Antonio Hernández | 22nd Oct 2019 | Germany, Review, Theatre and Opera

Summer in Europe is the time for performing art festivals. Avignon in France or Edinburgh in...

What Are You Already Doing In Your Organization Or Community (Related To Digital Technology And Theatre)?

Posted by Maren Day | 7th Oct 2019 | Belgium, Germany, News

No question about it, the use of digital technology is quite common in everyday theatre life all...

“The Ugly One:” Re-adaptation Attempts Face-Lift

Posted by Alvina Ruprecht | 1st Oct 2019 | Adaptation, Canada, Germany, Review

Marius von Mayenburg, author of The Ugly One, representing the new young German Theatre, is...

“Stimmen des Kiezes”: A Site-Specific Movement–Text Collage in Berlin-Friedrichshain

Posted by Armando Rotondi | 6th Jul 2019 | Czech Republic, Devised Theatre, Germany, Review, Theatre and Religion

In the middle of the vibrant Berlin district Friedrichshain, well-known for party tourism, hipster...

What Theatres Expect From Digitality And What Digitality Expects From Theatres

Posted by Dick van Dijk | 21st Jun 2019 | Germany, News, Theatre and Science, Transmedia

Technology is pervasive in today’s society. Code = culture. Algorithms define our way of life. In...

Sasha Waltz: The Opera Choreographer

Posted by Romy König | 11th Jun 2019 | Germany, News, Theatre and Dance, Theatre and Opera

Choreographer Sasha Waltz has added a chapter to the history of dance with choreographic opera. It...

Germany

Performing Again: An Interview With Michael Vogel And Familie Flöz At Schiller Theatre

Listening in Detail – Alma Söderberg

Nils Haarmann On The Pandemic And Post-Pandemic Theatre

Theatre United Against a Shift to the Right

Stage Design: Tradition of Diversity

The Crisis Stage

Alice Birch and Katie Mitchell’s “Orlando” at the Schaubühne Theatre: Queer Desire on the Big Screen

Simon Stephens’ “Maria:” Aggressive Optimism is Saving the World

Who Am I, The Author? But Who Is The Author?: An Interview With Ulrike Syha

“Judgement Day”: Illusions of Grandeur

Bodily Dressage: Cruel and Optimistic Pleasures of the Speaking and Moving Body

“History of Violence” and How Your iPhone is a Culprit

Denying A Harsh Reality in “The History of Violence”

“The Eighth Life (for Brilka)”: Dark Chocolate

How to Stage an Opera? Summer Munich Opera Festival as a Role Model

What Are You Already Doing In Your Organization Or Community (Related To Digital Technology And Theatre)?

“The Ugly One:” Re-adaptation Attempts Face-Lift

“Stimmen des Kiezes”: A Site-Specific Movement–Text Collage in Berlin-Friedrichshain

What Theatres Expect From Digitality And What Digitality Expects From Theatres

Sasha Waltz: The Opera Choreographer

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