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Berlin’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.
‘European democracy is, and always has been, a racist construct,’ according to the organizers of the Ruhrtrienniale.
Thomas Ostermeier’s new production of “Youth Without God” is the centerpiece of the drama offerings at this year’s event.
“Tree” and “Invisible Cities,” two blockbuster works, lack the impact of the festival’s more intimate experiences.
Theatertreffen Berlin gathers the best productions from around Germany, Austria and Switzerland.
Elfriede Jelinek’s latest, “Am Königsweg,” is one of several new productions of Austrian plays that engage with contemporary political realities.
In 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?
The Schaubühne’s FIND Festival showcases new theater from around the world, from Brussels to Santiago, Chile, and Montreal to Barcelona, Spain.
Throughout Germany, ambitious modern reinventions of plays by Sophocles and Aeschylus argue for the timelessness of these ancient works.
Productions 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.
From “The Sound of Music” in Salzburg, Austria, to “Candide” in Berlin, German-speaking theaters are bringing fresh appeal to repertory staples.
Our three European theater critics pick their favorite productions of the year — plus a turkey for the festive season.
Several new productions this season that take their cue from European film classics from the 1960s and ’70s, with adaptations of Visconti, Bergman and Polanski.
Productions in Berlin and Munich grapple with issues that shape our world.
Kirill Serebrennikov, under house arrest in Moscow, is staging a production of “Così Fan Tutte” in Zurich through a process closer to espionage than traditional theater.
No playwright is more respected in Germany than Shakespeare. Some productions just have a strange way of showing it.
“Dionysos Stadt” is a 10-hour epic inspired by the Greek classics that traces the arc of human drama. It’s just one of many new productions on Munich’s stages.
A crop of new works written by their directors — or maybe directed by their playwrights — is lighting up stages in Berlin and Frankfurt at the beginning of the theater season.
The Ruhrtrienniale festival in Germany presents unpredictable works in postindustrial settings. But this year controversy has overshadowed the event.
It’s an event more associated with classical music, but drama is in its D.N.A. Two productions of German-language classics at the festival show differing approaches.
Two plays at one of the city’s most important theaters make the case for accepting displaced people, as politics there is turning against them.
From Édouard Louis’s novel “History of Violence” to Boccaccio’s 14th-century “Decameron,” German theaters love to mount literary adaptations.
Frank Castorf led Berlin’s Volksbühne for a quarter century. One of his last productions is being presented again in a showcase of the year’s best German theater.
Restrained stagings of Schiller and Shakespeare are vital and exciting, but a production based on the New Testament falls flat.
A German residency for the Gogol Center, a leading Moscow avant-garde group, drew attention to the plight of its leader, Kirill S. Serebrennikov.
Three plays in Munich and Berlin explore revolutionary ideas and utopian dreams.
High drama and deep moral questions are at the heart of two outstanding productions in Vienna: “The Ten Commandments” and “The Oresteia.”
In Berlin and Munich, theater companies explore themes of exile and return in classics and new work, each directly addressing today’s refugee influx.