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Barbara Mundel takes over as artistic director of the Münchner Kammerspiele, lately perhaps the most consistently exciting playhouse in Germany.
Some of the city’s major playhouses are presenting pandemic-delayed premieres in sparsely populated auditoriums, with much of the seating removed.
The 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…
Peter 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.
Playhouses are finding ways to keep drama going, despite coronavirus restrictions.
A 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.
In 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…
If 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…
The 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.
The recorded performances that theaters in Germany have put online while they are closed don’t live up to the real thing, our critic says.
The 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.
An avant-garde Berlin director has sold out a 2,000-seat venue that usually draws crowds with death-defying acrobatics or rousing musical numbers.
Under a new artistic director, this season at Austria’s main playhouse includes 30 premieres, ranging from classical dramas to brand-new works.
Two Berlin productions find different types of comedy in the great 17th-century playwright’s works.
Stage productions of “Anna Karenina” and “Don Quixote” turn sprawling novels into gripping theater.
Directors have adapted challenging works by Virginie Despentes and Michel Houellebecq, with varying levels of success.
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.