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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.
The Salzburg Festival and the Ruhrtriennale host a series of theatrical pieces, both old and new, that seem to reflect our troubled time.
Don’t expect bowler hats and dirty negligees in a new production at the Berliner Ensemble, the theater Bertolt Brecht founded.
The theater offering at the Alpine festival features reworked classics by Shakespeare and one of the event’s founders.
At newly reopened playhouses, once-legendary and younger directors take very different approaches to their mammoth productions.
A German playhouse realizes it’s no longer competing merely against other local venues for audience attention.
The drama behind the scenes at the Volksbühne in Berlin has surpassed any onstage. A series of premieres involving vengeful gods, inescapable fates and tragic flaws seems apt.
The directors of the Brecht Festival Augsburg have curated an online-only event that runs the gamut from experimental films to poetry slams and puppetry.
German playhouses are finding innovative ways to forge connections while their doors are closed.
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.
The show must go on, despite a second lockdown, with livestreamed premieres and recent recordings.
A second lockdown has put productions on hold and added extra drama to an already fraught theater season.
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.