The Lessingtage theater festival, held online this year because of the pandemic, shows some of Europe’s finest performers, in classic plays by Brecht, Schiller, Ibsen and others.
SOURCE: The New York Times Subscription at 12:18PMThe show must go on, despite a second lockdown, with livestreamed premieres and recent recordings.
SOURCE: The New York Times Subscription at 04:48AMA second lockdown has put productions on hold and added extra drama to an already fraught theater season.
SOURCE: The New York Times Subscription at 04:18AMBarbara Mundel takes over as artistic director of the Münchner Kammerspiele, lately perhaps the most consistently exciting playhouse in Germany.
SOURCE: The New York Times Subscription at 06:36AMSome of the city’s major playhouses are presenting pandemic-delayed premieres in sparsely populated auditoriums, with much of the seating removed.
SOURCE: The New York Times Subscription at 07:54AMThe pseudo-medieval morality tale “Jedermann” inaugurated the first Salzburg Festival with an outdoor performance in 1920. The world premiere of “Everywoman” expands the concept beyo…
SOURCE: The New York Times Subscription at 05:18AMPeter Handke’s “Zdenek Adamec” imagines the psychological motivations of a young man who hoped to change the world by setting himself on fire, but whose name is now hardly known.
SOURCE: The New York Times Subscription at 05:12AMPlayhouses are finding ways to keep drama going, despite coronavirus restrictions.
SOURCE: The New York Times Subscription at 07:32AMA German theater has created a walk-through performance that works with social distancing and hygiene measures to result in a new kind of aesthetic experience.
SOURCE: The New York Times Subscription at 05:48AMIn an artistic world that constantly deconstructs itself, the creators of “The Plague” and “Dekalog” turned toward digital tools, with self-filmed actors and direction from the audie…
SOURCE: The New York Times Subscription at 06:18AMIf this year’s Theatertreffen had gone ahead, it would have featured more women-led productions than ever before. Instead, an online version of the German festival features an even greater…
SOURCE: The New York Times Subscription at 05:12AMThe Belarus Free Theater had ambitious plans for its anniversary. The coronavirus stopped them, but the troupe is used to finding ways to keep going in tough times.
SOURCE: The New York Times Subscription at 06:03AMThe recorded performances that theaters in Germany have put online while they are closed don’t live up to the real thing, our critic says.
SOURCE: The New York Times Subscription at 06:36AMThe Russian director Kirill Serebrennikov is free from house arrest but isn’t allowed to leave Moscow. So actors from a Berlin theater went there to create his latest work.
SOURCE: The New York Times Subscription at 01:36PMAn avant-garde Berlin director has sold out a 2,000-seat venue that usually draws crowds with death-defying acrobatics or rousing musical numbers.
SOURCE: The New York Times Subscription at 06:33AMUnder a new artistic director, this season at Austria’s main playhouse includes 30 premieres, ranging from classical dramas to brand-new works.
SOURCE: The New York Times Subscription at 06:48AMTwo Berlin productions find different types of comedy in the great 17th-century playwright’s works.
SOURCE: The New York Times Subscription at 03:54AMStage productions of “Anna Karenina” and “Don Quixote” turn sprawling novels into gripping theater.
SOURCE: The New York Times Subscription at 05:06AMDirectors have adapted challenging works by Virginie Despentes and Michel Houellebecq, with varying levels of success.
SOURCE: The New York Times Subscription at 04:03AMBerlin’s theater season opens with directors taking audiences through the fog of war, down the gloomy tunnels of cyberspace and into a world without hope.
SOURCE: The New York Times Subscription at 07:54AM‘European democracy is, and always has been, a racist construct,’ according to the organizers of the Ruhrtrienniale.
SOURCE: The New York Times Subscription at 10:32AMThomas Ostermeier’s new production of “Youth Without God” is the centerpiece of the drama offerings at this year’s event.
SOURCE: The New York Times Subscription at 05:12AM“Tree” and “Invisible Cities,” two blockbuster works, lack the impact of the festival’s more intimate experiences.
SOURCE: The New York Times Subscription at 06:12AMTheatertreffen Berlin gathers the best productions from around Germany, Austria and Switzerland.
SOURCE: The New York Times Subscription at 04:24AMElfriede Jelinek’s latest, “Am Königsweg,” is one of several new productions of Austrian plays that engage with contemporary political realities.
SOURCE: The New York Times Subscription at 05:41AMIn recent seasons, Odon von Horvath has become one of the most performed playwrights in the German-speaking world. But who is he, and why is he so popular now?
SOURCE: The New York Times Subscription at 09:24AMThe Schaubühne’s FIND Festival showcases new theater from around the world, from Brussels to Santiago, Chile, and Montreal to Barcelona, Spain.
SOURCE: The New York Times Subscription at 04:29AMThroughout Germany, ambitious modern reinventions of plays by Sophocles and Aeschylus argue for the timelessness of these ancient works.
SOURCE: The New York Times Subscription at 07:23AMProductions in the region often take liberties with the text. But in stagings of Arthur Miller, Eugene O’Neill and Tennessee Williams, the directors (mostly) stick to the script.
SOURCE: The New York Times Subscription at 09:54AMFrom “The Sound of Music” in Salzburg, Austria, to “Candide” in Berlin, German-speaking theaters are bringing fresh appeal to repertory staples.
SOURCE: The New York Times Subscription at 04:18AMOur three European theater critics pick their favorite productions of the year — plus a turkey for the festive season.
SOURCE: The New York Times Subscription at 06:04AM
