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The choreographer Constanza Macras’s new work at the Volksbühne is a chaotic revue featuring dance, slapstick, spoken dialogue, pop music and heavy-handed monologues.
The Times’s three European theater critics pick their favorite productions of the year — plus a turkey apiece for the festive season.
Many Broadway blockbusters make their way to Madrid, but Banderas wants to push the envelope with serious, complex musicals that are little-known in Spain.
New stagings in Germany and Austria, including Tom Stoppard’s latest play, explore the themes of social integration and tolerance that animated the “Jewish question.”
Female-led productions in Hamburg and Munich — including an Annie Ernaux adaptation and a reworking of Ibsen’s “A Doll’s House” — pack both a theatrical and a moral punch.
In Germany, a sonically daring Chekhov adaptation and a post-apocalyptic western “opera” are breaking down barriers between genres.
The hit musical arrived in Hamburg with its verve, ingenuity and idealism intact. And it gains unexpected depth from being staged in Germany.
Florentina Holzinger’s striking, bewildering and stomach-churning new piece, “Ophelia’s Got Talent,” opened the season at the Volksbühne theater in Berlin.
New works by major German-language dramatists at the Kunstfest Weimar festival tackle ethical questions at a moment of ecological anxiety.
Thorsten Lensing takes years between shows; Ewelina Marciniak puts on several each season. Both theater makers are presenting new work in Austria.
Works that once horrified European audiences are now centerpieces of the drama offerings at the tony Austrian festival.
The Radikal Jung festival transports theatergoers to Russia’s 2014 invasion of eastern Ukraine and an American high school in the Middle Ages.
Two recent British dramas with Austrian roots made it to Vienna this season: “Leopoldstadt,” by Tom Stoppard, and Robert Icke’s “The Doctor.”
At Theatertreffen, an annual celebration of the best in German-language performance, music plays a profound, and intelligent, role.
New productions by the theater titans Krzysztof Warlikowski and Frank Castorf play games with ancient Greek folklore and modern history.
Waltz’s dance, born in deep lockdown, embraces the openness and fluidity of Terry Riley’s classic minimalist score. It’s coming to BAM.
At Berlin’s FIND festival of new international drama, several productions use transcripts to explore questions of state power and identity.
In Germany, a country with few theater leaders who aren’t men, professional success has often meant becoming one of the guys. Now, a new group of women are developing their own way. d
A theatrical reworking of Wagner’s “Ring” and a feminist revision of some Greek classics show how ancient legends can illuminate contemporary obsessions.
Bold takes on classic works defined theater in Germany for decades. But many playhouses are turning to new works by international dramatists.
Kirill Serebrennikov is living under a three-year travel ban, but to his surprise, Russian authorities approved his request to direct a play in Hamburg.
The Berliner Ensemble, once known for reverent productions of plays by its founder, Bertolt Brecht, has come roaring into a new decade.
In a country where the director is king, it’s the hundreds of full-time players in the many house ensembles who have assured that the lights stayed on during the pandemic.
René Pollesch is the fourth boss of the Volksbühne in four years. The Berlin theater is pinning hopes of a return to its former vibrancy on his collaborative approach.
In Kornel Mundruczo’s “Pieces of a Woman” and an Annie Ernaux adaptation, “Memory of a Girl,” stage directors explore post-traumatic psychology and the workings of mental recall.
With a Black-led production of Shakespeare’s play, an Austrian theater hopes to jump-start a conversation about racism and the need for diversity on the country’s stages.
Munich is throwing off a provincial reputation to become a global cultural powerhouse. Yet tensions between local and cosmopolitan impulses in the city’s playhouses remain.
The American playwright’s first new play since he parted ways with his theater in 2018 during the #MeToo movement finds a stage far from New York.
At Berlin’s FIND festival of new international drama, some plays tackle big themes while others reject being useful.
Four interpretations of the Greek myth have been produced in the German capital, all with resonances for our moment.