Performing Again: An Interview With Michael Vogel And Familie Flöz At Schiller Theatre
Led by artistic directors Hajo Schüler and Michael Vogel, Berlin-based “Familie Flöz” is one of...
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Germany
Listening in Detail – Alma Söderberg
Theatres remain closed, so instead of publishing reviews of new pieces, Etcetera asked artists to...
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Nils Haarmann On The Pandemic And Post-Pandemic Theatre
Nils Haarmann – dramaturg at the Schaubühne – responds to Grzegorz Jarzyna. The discussion focuses...
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Theatre United Against a Shift to the Right
Pressure on the German theatre and cultural landscape has increased significantly since the...
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Stage Design: Tradition of Diversity
Germany has more theatres and concert halls than almost any other country in the world. From its...
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The Crisis Stage
In times of crisis, we see just how closely reality and fiction really are. What seemed like a...
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Alice Birch and Katie Mitchell’s “Orlando” at the Schaubühne Theatre: Queer Desire on the Big Screen
Virginia Woolf’s reputation has closely followed British cultural trends: in the interwar years...
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Simon Stephens’ “Maria:” Aggressive Optimism is Saving the World
“The theatre is a device for empathy – its job is to create better people.” Those are the words of...
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Who Am I, The Author? But Who Is The Author?: An Interview With Ulrike Syha
Ulrike Syha was born in 1976 in Wiesbaden, Germany. She studied Dramaturgy at the Hochschule für...
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“Judgement Day”: Illusions of Grandeur
Two years ago, the British director Richard Jones brought a stunning production of Eugene...
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Bodily Dressage: Cruel and Optimistic Pleasures of the Speaking and Moving Body
Researcher and critic Lisa Moravec explores how two performances of this year’s ImPulsTanz,...
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“History of Violence” and How Your iPhone is a Culprit
First of all, don’t be put off by the pompous, academic title. Thomas Ostermeier’s...
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Denying A Harsh Reality in “The History of Violence”
It opens with a manic attempt to clean. The sheets, the floors, the smell of the air, everything...
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“The Eighth Life (for Brilka)”: Dark Chocolate
The Eighth Life (for Brilka) or Das achte Leben (Für Brilka). Adapted by Julia Lochte and Emilia...
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How to Stage an Opera? Summer Munich Opera Festival as a Role Model
Summer in Europe is the time for performing art festivals. Avignon in France or Edinburgh in...
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What Are You Already Doing In Your Organization Or Community (Related To Digital Technology And Theatre)?
No question about it, the use of digital technology is quite common in everyday theatre life all...
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“The Ugly One:” Re-adaptation Attempts Face-Lift
Marius von Mayenburg, author of The Ugly One, representing the new young German Theatre, is...
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“Stimmen des Kiezes”: A Site-Specific Movement–Text Collage in Berlin-Friedrichshain
In the middle of the vibrant Berlin district Friedrichshain, well-known for party tourism, hipster...
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What Theatres Expect From Digitality And What Digitality Expects From Theatres
Technology is pervasive in today’s society. Code = culture. Algorithms define our way of life. In...
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Sasha Waltz: The Opera Choreographer
Choreographer Sasha Waltz has added a chapter to the history of dance with choreographic opera. It...
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