experimental theatre berlin

• The 8 Best Independent Theatre...

The Best Independent Theatre Houses in Berlin

Berlin has long been known as a cultural hotspot , so it should come as no surprise that some of the most interesting theatre around takes place in Germany ‘s capital. Want to check out what’s on offer? Here’s our round-up of the most interesting independent theatre houses in Berlin – we hope you enjoy the show.

English theatre berlin.

English Theatre Berlin is exactly what you would imagine it to be – a theatre dedicated to the English language. However, that’s just a simple reduction of what this company actually do. Focused on exploring the English language through both native and foreign speakers alike, their theatre explores the evolution and transformation of language, as well as examining how it empowers and how it excludes – their aim is to create a dialogue and community between the performers and the audience. English Theatre Berlin’s in-house productions include Producing Series – Made in Berlin, the Presenting Series , Performing Series , and Pedagogy Series – check out their calendar to discover what’s on.

ACUD Theatre

ACUD is a place where you can both check out and take part in performances – their intriguing shows and on-stage performances are offered alongside other unique experiences, including physical theatre workshops among others. They typically put on a show a week, and tend to dip into the fairly experimental sectors of theatre and performance that Berlin has to offer.

Ballhaus Naunynstraße

Ballhaus Naunynstrasse is a cultural center located in Kreuzberg that hosts films, performances and theatre productions. They have a full schedule premiering something new each night. Many of their shows are performed in German but offer English subtitles, so if you’re trying to learn German, here is a great place to start. The theatre focuses its spotlight on both past and new waves of immigrants in Berlin – shows here have included subjects such as the hustle and bustle of Berlin’s dishwashers, brought to life on stage.

Bread Factory Theatre

This Weißensee off-theatre was originally a 19th-century ‘bread factory’ (bakery) that was later abandoned by its owner in 1952 to escape East Berlin. In the late 1980s the bakery was used as a center by the Weißensee School of Arts for youth groups. Today, the Bread Factory Theatre hosts touring performance groups, and artists living and working out of Berlin’s independent scene. Performers who appear on stage are both national and international, performing across dance, theatre, and musical genres. Depending on the night’s scheduled event, you can attend a puppet show, improvisations, and many other unconventional art pieces.

Ada Studio is a dance and theatre space that was created for emerging dancers, artists, and choreographers who have recently moved to Berlin. The name has two meanings: as an acronym for, “a dance area,” and as a translation from Turkish as “island.” The Turkish translation is a compelling description for the theatre, evoking the image of an island of dancers moving across the surfaces of Berlin. With dance as a universal language, the studio welcomes all viewers of all cultures and languages.

Silent Green Kulturquartier

The first and most obvious thing to note about Silent Green is that it’s located inside a crematorium. Unusual location aside, this cultural space offers a plethora of performance options across all creative fields, from the highbrow through to the more accessible (‘Daytime disco’ anyone?). Their programme is packed – they have something for everyone, not to mention a fantastic range of cakes at the in-house MARS café.

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Ratibor Theatre, Kreuzberg

The Ratibor Theatre was founded in the 1970s, and has borne witness to the evolution of Berlin from the 1970s until today. This spot is an experimental theatre concerned with politics, simply because when it was founded, life in Berlin made it impossible to ignore the world it was facing. The impro-group “Die Gorillas” later joined forces with Ratibor Theatre, shaping the ethos of the company into what it is today.

Theaterdiscounter

This contemporary theatre house is located in Berlin’s Mitte. Theaterdiscounter is contemporary in every sense of the word, exploring and redefining ideas, politics, and reality. Many of the shows here are in German, but they often have shows in English too, involving other German-speaking countries as well as international guests and performers. Their focus is on what’s new and happening now, making this innovative theatre unique to Berlin and its growing art scene.

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Freie Bühne

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Freie Bühne , independent Berlin theatre founded in 1889 by 10 writers and critics and supervised by the writer-director Otto Brahm for the purpose of staging new, naturalistic plays. Like André Antoine ’s Théâtre-Libre in Paris, Brahm’s company gave private performances to theatre subscribers only. The Freie Bühne’s first production was of Henrik Ibsen’s Gengangere (1881; Ghosts ) in September 1889. A month later, Brahm staged Gerhart Hauptmann ’s first play, Vor Sonnenaufgang (1889; Before Dawn , or Before Sunrise ), a tragedy of working-class people. Hauptmann, who would go on to win the Nobel Prize for Literature in 1912, was the most important playwright introduced by the Freie Bühne.

During the following seasons, Brahm’s presentations included the important naturalist drama dealing with a degenerate family, Die Familie selicke (1890; “The Happy Family”) by Arno Holz, as well as plays by Leo Tolstoy , Émile Zola , and August Strindberg . Although the Freie Bühne was a success, it lasted for only three seasons, largely because Berlin’s commercial theatre had by then embraced the new theatrical movement of naturalism . But it inspired the creation of other private theatres and amateur groups throughout Berlin, Munich, and Vienna.

The 25 best performing arts theatres and opera houses in Berlin

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1 HAU Hebbel am Ufer (HAU2)

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3 English Theatre Berlin | International Performing Arts Center

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The Ratibor Theatre - cultural heritage in the making

For more than 40 years, there is the small backyard theatre in Kreuzberg. The roots of the Ratibor Theatre go back to 70's. The history of the Theatre and the people behind it, somehow is representative for the history of the City of Berlin itself: from the highly politicized 1970's, the apocalyptic Kreuzberg of the 1980's, the end of the Berlin Wall to the post reunification era and the reality of a vibrating urban metropolis, that is still defining itself - all of that can be found in the history of The Ratibor Theatre.

The first steps were made during a time in which politics influenced street life as well as the stages, under this influence interest and curiosity for new forms of theatrical expressions, beyond the classical directed theatre evolved. Initially a large, and very diverse group came together, Inspired by foreign avant-garde Theatre such as the Living Theatre in New York or the polish theatre theorist Jerzy Grotowski. This first phase can easily be compared to an experimental laboratory. From street theatre, experimental theatre, various theatre initiatives as well as political theatre an independent theatre collective evolved - The Ratibor Theatre.

The name goes back to the Ratibor Straße in Kreuzberg, where the first room for rehearsals, and first performances was established. On the look out for a new venue the - to this day - ideal place was found in 1980 in Cuvrystraße at the Kerngehäuse. During the time the West-Berlin repair-occupation movement was at it's peak. Together with other projects and activists the former sewing machine factory was occupied and the venue was formed from a former industrial floor, into a venue that could easily host theatre, dance, music, Workshops etc.

During the second phase of the Ratibor's evolution a small core around founders Ute Wohlgemuth and Harald Klenk formed, that was determined, to turn this ideological idea into a profession that one could live on. Besides several tours and guest performances the Ratibor became a fix venue, it was the place where plays were developed and showcased. Characteristic for those plays was that there was no direction management. Collectively Ideas were drawn from the moment and to express them many different techniques were applied: physical, vocal. with music, masks, dance, acrobatics etc.

In addition the "Ratiborskis" hosted workshops to hand on the ideas of experimental Theatre. Beyond that they took party in many of political campaigns, as a part of the alternative movement it was obvious to support socio-political processes through theatre.

In the midst of the 1980's a new phase began, it included the design of directed plays. Mainly Harald Klenk wrote and directed several plays. In the course of a necessary modernisation the Ratibor was rebuilt into a professional theatre venue, with national lotto funds in 1990. The new challenge was that along with the Berlin Wall, almost the whole independent Theatre scene of West-Berlin came to a fall. Subsidisations were decreased or canceled completely and transferred to East-Berlin , that became a haven for anyone with creative ambitions. Kreuzberg was out. 

Until 1993 the Ratibor showcased self-developed plays, from there on the Ratibor hosted guest shows only. This phase was accompanied by a constant up and down. By creating a stage for artists from the sections of dance, music, literature, theatre and so forth the Theatre was held alive. Show sensations such as Gaby Decker, Willy Astor or Horst Evers soon moved on to bigger things and bigger venues, so that that time was shaped by troubledness. Finally one event in 1997 made the constant search for guest actors obsolete.

The newly formed Impro-Group "Die Gorillas" was looking for a fixed venue and the Ratibor was in many ways suitable. Not alone the acquaintance of ensemble member Norbert Riechmann and the mutual appreciation, but foremost the experimental character of improvised theatre it's open structures, the spontaneous development of the moment and especially the collective structure of "Die Gorillas" that knew no hierarchies matched the spirit of The Ratibor beautifully. After twenty years a circle seemed to close itself. From this symbiosis evolved a story of success, that formed The Ratibor into an international Institution for impro and "Die Gorillas" to one of the best Impro-Groups worldwide.

Welcome to the laboratory

OPEN CALL: WHERE IS WENDY?

Based on our love for Synthesizers, especially the once from Moog, we want to spotlight a personality who usually does not like to be named officially

Share Your Story about Wendy Carlos!

Wendy Carlos, formerly known as Walter Carlos, is an icon in the music and art world. Her groundbreaking contributions to electronic music and pioneering work in the use of synthesizers have inspired and influenced generations of artists.

We invite musicians, artists, and directors to share their personal stories and meanings related to Wendy Carlos. Perhaps her music has influenced your creative work, inspired you to new artistic heights, or helped you better understand yourself.

Tell us what Wendy Carlos means to you and share a special story or memory that you associate with her music. Whether it's an anecdote about the first moment you heard her music, a specific composition that changed your life, or how she shaped your artistic vision - we want to hear your unique perspective.

Please submit your stories and memories along with your name, artistic background, and any links to your work to [email protected] . Selected stories may be shared on our platforms to celebrate Wendy Carlos's impact on the creative community.

We look forward to hearing from you and learning about your connection to this significant artist. By collecting these personal stories, we aim to celebrate Wendy Carlos's impact on music and culture while highlighting the diverse ways in which she has inspired individuals around the world. Through sharing these stories, we hope to honor her legacy and inspire future generations of artists.

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Berlin.de The Official Website of Berlin

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How accessible is this website, who can you contact if you have questions, comments or feedback regarding digital accessibility, where can i find additional information about accessibility in berlin.

Berlin has a vibrant threatre scene with a long history. At any time, Berlin's theatres are staging innovative productions of classic and modern plays as well as new sand experimental productions by up-and-coming authors. Get the dates, information and advance ticket sales for the best plays and theatre events in Berlin.

Tickets: Theatre in Berlin

© Globe Berlin/Thorsten Wulff

A Midsummer Night's Dream by William Shakespeare

Probably Shakespeare's most performed comedy is also the most misunderstood. Mathias Schönsee's new production at the Globe Berlin leaves behind the romantic, explanatory performance tradition as well... more

© JR Berliner Ensemble

It's Britney, Bitch!

“To understand the world we live in, we have to know how we love – because if we know how we love, we understand how we can save the world.” more

© Johann Otten

Hate Me, Tender_Revisited

In her award-winning solo performance, choreographer and director Teresa Vittucci encounters one of the most important and influential female figures in Judeo-Christian societies: the Virgin Mary. more

© Tobias Klett

ACTING. LOST HIGHWAY

Inspired by the screenplay “Lost Highway” by David Lynch and Barry Gifford, this performance focuses on two characters that are struggling to depart from their habitual patterns.   Renée and Fred Madison... more

Die Dreigroschenoper (The Threepenny Opera)

Barrie Kosky transforms Bertolt Brecht and Kurt Weill's "Threepenny Opera" into a big-city ballad about people seeking happiness in a functional, sober world. more

© Lukáš Horký/Flora Theatre Festival

The Tin Drum (Die Blechtrommel)

Oskar Matzerath has barely been born when he recognises the world to be a universal disaster – and rejects it entirely. Only the tin drum promised to him by his mother offers him an acceptable perspective... more

© Kumar Muniandy

Second Class Queer

In this play, actor and writer Kumar Muniandy questions his identity, queerness, internalized homophobia and experiences of racism with his play. In the midst of these terms and their politics, Kumar seeks... more

Hamlet (OV)

The tragedy of a hopeful young man who has a task placed on his shoulders that weighs too heavily for him, which he fails at and ultimately perishes, symbolises a successor generation, its values and ideals... more

© Thorsten Wulff

Romeo & Juliet (OV)

The Globe Ensemble Berlin brings Shakespeare's most frequently performed tragedy to the stage in the best folk theater tradition. more

© Stan Hema

Conductor: Enrique Mazzola; Staging: Marie-Ève Signeyrole; With Roman Burdenko / Thomas Lehman, Marko Mimica / Byung Gil Kim, Anastasia Bartoli / Felicia Moore, Attilio Glaser / Andrei Danilov and others. About... more

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© www.enrico-verworner.de

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Bertolt Brecht & Erwin Piscator

Experimental theatre in berlin during the 1920s.

In Berlin of the 1920s Bertolt Brecht and Erwin Piscator created a new form of theatre out of experiences of the First World War and the social tensions of the Weimar Republic. Its aim was to show social reality in all its complexity, and it was based both on traditional forms of theatre and on performances not related to the stage in order to interrupt and to analyse the dramatic narrative. Thus the artists found ways only made possible by technological evolution.

The political aim of “epic theatre” was to activate the audience to try to change the world. Piscator who became famous for his intense use of film in stage performances tried to realise the idea of a highly technical “total theatre”.

Brecht, however, withdrew to the essential simplicity of the stage. Their revolutionary concept of theatre remains relevant today. For example, Lars von Trier’s much-discussed film “Dogville” is clearly informed by epic theatre.

The exhibition at the Austrian Theatre Museum showcases some of the epoch-making productions directed by Brecht and Piscator in order to document the development of epic theatre.

Stage photographs, stage models, little-known films and recordings provide a vivid image of this innovative phase of theatrical history. Works by George Grosz, John Heartfield, László Moholy-Nagy, Walter Gropius and Caspar Neher will also be on show.

Shakespeare Reloaded Berlin

International theatre collective based in berlin, germany.​, inclusive, diverse and experimental. ​, acting workshops and courses., "they are phenomenal as individuals, but unforgettable as an ensemble [...] , we should all keep an eye on this company.”, broadwaybaby.

Shakespeare: Reloaded e.V. | Geschäftsnummer VR 37632 B | Gäblerstr. 17 | 13086 Berlin | E: info@shakespeare-reloaded .org

The House of Bernarda Alba

Berlin Open Theatre and Shakespeare Reloaded present an innovative reworking of Federico García Lorca's classic play, "The House of Bernarda Alba." Experience this powerful female-fronted drama like never before, performed in English and brought to life with a fresh, modern twist. This is a tale of power, repression, and the struggle for freedom within a strict, authoritarian household. This innovative reworking by Berlin Open Theatre and Shakespeare Reloaded infuses Lorca's timeless themes with contemporary relevance, exploring the dynamics of control and resistance in new and unexpected ways. Date and Time: Thursday 25th July 20:00 CEST

Friday 26th July 20:00 CEST

Saturday 27th July 16:00 CEST

Saturday 27th July 20:00 CEST

Sunday 28th July 16:00 CEST

Sunday 28th July 20:00 CEST

Theater Verlängertes Wohnzimmer

Frankfurter Allee 91, 10247

For tickets, click here . 

This is us Shakespeare: Reloaded is an international theatre collective, active in Berlin since November 2017 and, as of summer 2019, also a registered association with e.V. status. Our commitment is to reshaping iconic classic texts into fearless, ferocious productions that speak to a contemporary audience. We are a community of over 10 international artists from diverse, non-traditional artistic backgrounds, and we are constantly growing: we provide a platform to performers from all walks of life and from more than ten countries, from Brazil to Bulgaria, with a broad range of skills in acting, directing, playwriting, music and dance. Our rehearsal room approach is a holistic method based on a variety of different techniques, with a strong foundation in physical theatre. We believe in creating strong ensembles for our productions and all our shows are usually developed over the course of 6-8 months, allowing the performances to evolve by moulding both the actors and the director’s collective skills and experiences together, to create a combined voice and perspective, unlike anything that a single creator could achieve alone. That’s what makes our performances so distinctly innovative.

Create with us You want to be creative? 

You want to learn something new or apply more of what you already know?​

You have always wanted to be in a ensemble? 

You want to act, you are dedicated and you are fluent in English?

This is your chance!

We are always looking for new creatives; may it be actors, directors, producers or social media experts. We are looking to expand our membership and our presentation as an English-speaking ensemble and theatre production in Berlin.

If you are interested in joining our upcoming workshops or productions, contact us or follow us : email

info@shakespeare-reloaded .org

Past Productions "All the world's a stage, and all the men and women merely players. "

A Midsummer Night’s Dream

June 2018, Berlin

The Importance of Being Earnest

March & August 2019, Berlin

August 2019, 

Edinburgh Fringe Festival

Julius Caesar

November 2019, Berlin

Romeo and Juliet

June 2022, Berlin

August 2022, The Dell  Stratford upon Avon, UK

The Taming of the Shrew

February 202 4 , Berlin

How to become a member?

To apply for membership, please send us an email expressing your interest and providing a short bio that mentions any relevant acting experience (if available) and why you would like to join our community. We encourage you to be playful and creative in your application.

Ideally, we would also love for you to participate in one of our ongoing workshop sessions to get to know us and our working style personally.

After we receive your application, we will schedule an (online) meeting to get to know you better. We will then review your application and get back to you with our answer shortly after the call.

How much is the membership fee?

Membership fees help support the initiatives and programs that we offer throughout the year. However, our goal is to provide affordable fees for anyone who is passionate about theater and want to be a part of our community. The regular annual fee varies between 80,00 € and 50,00 € according to your personal engagement in organization activities. The reduced fee for unemployed and students is 30,00 € per year.  

What are the benefits of becoming a member? 

There are many benefits to becoming a member of our organization, including:

The possibility to propose and lead a production, workshop or an acting course

The opportunity to be the first to receive information about new productions and be considered in the first round of casting auditions before going public

Access to S:R informational and administrative resources, knowledge base and financial help to produce plays or other productions (upon prior proposal submission and approval by the board)

The possibility to attend exclusive professional workshops with invited coaches in English

A discount for workshops and project fees

A discount on tickets to all productions, plus one ticket with a 25% discount

What is expected from regular members of S:R?

Building a community is a collaborative effort, and we welcome your participation and involvement. As a member, we expect the following:

Participation in General Meetings at least once a year

Active engagement in developing the association, which includes bringing new ideas and initiatives to projects, contributing to the creation and implementation of annual plans, and supporting administrative and creative tasks.

Sharing your skills and expertise to support the association's purpose.

We believe that everyone has something unique to offer, and we welcome your contributions to help us create a vibrant and supportive space for the arts. 

What conduct is appreciated in the S:R association?

Here are a few ground rules that we have established and that apply to all activities within the association. We expect our members to adhere to these rules.

Be kind and respectful: No discrimination, derogatory language or behavior allowed. We're all about being kind and supportive to each other.

Celebrate diversity: We strive to create a welcoming and inclusive environment for everyone interested in acting. Embrace and cherish our differences, and create an inclusive and welcoming environment for all.

No judgment zone : Let's create a safe space to explore our creativity without fear of judgment. We want everyone to feel free to express themselves.

Be professional and disciplined : We're a non-profit creative association in a wild and anarchic Berlin, but that doesn't mean we can't be professional! Let's show up on time, be prepared, proactive, accountable, take ownership and complete tasks to the best of our abilities.

Engage with feedback and constructive criticism and be aware of how it’s affecting you. If something didn’t sit well, don’t be afraid to voice that. We are all here to learn from each other!

It's okay to make mistakes : Nobody’s perfect, and that's totally fine! Let's learn from our mistakes, ask for help when needed, and dare to be vulnerable.

Respect confidentiality : Everyone's privacy is important, so let's keep confidential information private and respect personal boundaries of each member of the association.

Safety first: We want everyone to have fun, but safety always comes first! Follow safety guidelines, report any concerns, and let's make sure rehearsals and performances are secure.

How to direct a play with S:R?

To direct a play with S:R, you must first become a regular member of the Association. Once you have joined, you are welcome to submit your play ideas and projects for consideration. We look forward to collaborating with you!

Is it possible to submit a play to be produced by S:R?

We welcome new playwrights and ideas! If you have a play you'd like to submit for production, please send us an email with your play's synopsis or idea.  

How can I get involved in supporting ongoing and upcoming productions at S:R?

We greatly appreciate volunteers who are interested in supporting our productions. To get involved, simply send us an email and let us know how you would like to contribute. We will connect you with the production lead or group and they will follow up with you. 

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To stay up-to-date on all our activities, you can sign up for our newsletter by sending us an email. Additionally, you can follow us on Facebook or Instagram for the latest updates. 

You haven’t found an answer you were looking for? Send us a message to info@ shakespeare-reloaded.org and we’ll get back to you as soon as possible.

The dark prince of experimental theatre

INTERVIEW. Experimental theatre titan Romeo Castellucci draws inspiration from German poet Friedrich Hölderlin at Schaubühne's F.I.N.D. (Festival of International New Drama) with Hyperion, debuting Mar 17.

Romeo Castellucci, the Italian dark prince of experimental theatre, is back in Berlin for Schaubühne’s Festival of International New Drama (F.I.N.D.).

Internationally renowned with his collective Socìetas Raffaello Sanzio for intensely contemplative works like Inferno, Purgatorio, Paradiso (inspired by Dante’s Divine Comedy ) and On the Concept of the Face, Regarding the Son of God in which excrement soils the white stage, Romeo Castellucci brings to Berlin a very personal version of Hyperion .

Based on the German Romantic poet Friedrich Hölderlin’s epistolary novel, this is his first collaboration with a German ensemble. Castellucci casts the title character as a series of female figures – some of whom are played by Angela Winkler, the grande dame of Berlin stages – transposing Hölderlin’s reflections on submission and revolution into today’s media-saturated society.

What attracted you to Hölderlin’s text?

I have never been interested in poetry in theatre because I have always believed it was the anti matter of the scene. And here I am, disarmed again by this subversive poet. The deep intellect of Hyperion eludes me, but not its necessity. In this book I found the icy precision of a guarded aesthetic that cuts to the bone, meant as political radicalism.

The subtitle for this production is “Letters of a Terrorist” instead of the original second title “The Hermit in Greece”. Why did you choose this new emphasis?

We must overcome both grief and hope.

The terrorism that is referred to in the subtitle isn’t the historical version practiced by religious or political extremist groups – so tragically devoid of a true vision – but that of those who practice, or at least confuse, life with art, and combat the absolutism of reality. I am : this is the battle cry of the living. Hyperion represents the struggle of living that is everywhere, through images that are impossible to accept without question but also difficult to forget or ignore. It’s radical, socially unacceptable, that these letters in this epistolary novel serve as the tool of a terrorist: the orderly beauty of the living as a potential vehicle for the bomb of life. The threat – hidden in plain sight, as David Foster Wallace said – of the beautiful form is that which throws the living into disorder. Those who just live are not afraid of death, but of those who truly experience life.

Why do you think that is?

Hölderlin’s main characters disseminate – like prophets – an idea of life, “aorgica” (all-encompassing), which disturbs the metaphysical order of vertical thinking. Life is everywhere, and that’s frightening. The living are frightening to those who accept life as it presents itself. Hyperion feels every vivid moment of life on his skin. He notices this, wants this, loses himself in it.

Why stage a novel from the end of the 18th century at the beginning of the 21st century?

Given the complexity of this era, this text represented for me a new escape route, so contemporary in its antiquated nature, in its ability to overcome the stereotypes of condensed junk culture, of the anti-aestheticism doctrine that makes trash, irony and sentimentalism into an endless lamentation, intolerable and ineffective. This Hyperion is a text that breaks with the domain of communication because there is nothing here to communicate. There are no claims or messages, and this itself is the good news. Hyperion is a representation as such. It’s the thing in itself, not a promise, not the metaphor. It is the time passing.

Do you think that our world is so saturated with junk culture that it can’t see beyond it?

I think the trash – and above all the idea of quantity that accompanies it – can now offer an opportunity for thought and political consciousness. Just as the ancient saints frequented the desert, the artist can now take refuge in the deep white noise – basically already a type of silence – of communication. We must overcome both grief and hope (which is the sister of despair). The trash culture which we are basically immersed in 24 hours a day can be the beginning of a new journey in the desert. So: thanks to the saturation of this age we can see an elsewhere, but first we must succeed in no longer seeing what is right under our noses.

Are all true revolutions doomed to collapse?

The revolution that seems to be suggested by Hyperion is molecular, invisible and individual. And it is trans-historical, beyond chronological time. It’s always morning here. In this sense it is invincible, because the battle is elsewhere. To be precise, it is to be elsewhere. For this reason, there are no references to historical revolutions in the show because it is a radical critique of reality, taken as a whole.

Your style is sometimes described as “picture theatre”. What does that mean to you?

Nothing. It is an incorrect and superficial definition. It’s true, I work with images, but the images are just a partial element. I focus on what cannot be seen, such as, for example, the time channels that are opened between the viewer and the representation. It’s time that shapes the show, and I mould it like a medium, like a sculptor shapes stone or a painter uses colour.

At this point in your career, what do you think of the work you did in the 1990s?

My perspective has changed. I think I have done my duty. I’ve never had any peace. To make theatre is to be on the front lines of criticism and to receive the rougher blows. But I still believe that theatre is the art of a lesser god and a default mode. We must raise the bar and be more daring.

Hyperion, Mar 17-18, 20:00 | Schaubühne am Lehniner platz, Kürfurstendamm 153, Charlottenburg, U-Bhf Adenauerplatz

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Digital version of our summer programming flyer, check out the program booklet for irish theatre berlin, program booklet for the tenth expo festival available now.

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Theater Review

At a Berlin Festival, Avant-Garde Theater from Europe and New York

Companies bring body horror and political statements to Berlin’s FIND festival of new international drama, where the Wooster Group is the “artist in focus.”

By A.J. Goldmann

Reporting from Berlin

We all walk around with baggage. For some, that’s holding onto the past or worrying about the future, but for Danny Iwas — the main character in the outlandish play “Burnt Toast” — it means carrying an aluminum briefcase containing the remains of his dead mother. The case is even handcuffed to his wrist: that way, he’ll never misplace it.

Written and directed by Trine Falch of the Norwegian theater group Susie Wang, “Burnt Toast” is a high point of this year’s edition of FIND, the international festival of new drama held each spring at Berlin’s Schaubühne theater. By accident or by design, a large number of the entries in this festival, which runs until April 30, unfold in confined spaces. In many productions, the very setting feels like a main character.

I can safely say that I’ve never seen anything quite like “Burnt Toast,” which mixes sardonic comedy and splatter horror and which was staged on the Schaubühne’s small studio stage. A clammy and rigorously precise chamber work, it takes place entirely in the lobby of a sinister hotel. (The stage-spanning carpet is blood-red.)

Shortly after Danny checks in, he meets Violet, a mother who is nursing her infant. In the unpredictable and unclassifiable play that ensues, Falch unspools a disturbing yet tender tale of love and cannibalism. The English-language dialogue is a mix of the mundane and the outrageous, which the three main actors recite with an exaggerated Southern twang.

There are the fingerprints of other directors here — Susanne Kennedy , Toshiki Okada and Falch’s countryman Vegard Vinge — but the unsettling tone of the piece feels unique. “Burnt Toast,” which premiered in 2020, is Susie Wang’s first work to be staged in Berlin. Featuring David Cronenberg-style body horror, pregnant infants and dismemberment, “Burnt Toast” certainly isn’t a show for everyone, but it left me hungry for more.

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+++ Due to possible severe weather warnings, the Fan Zones at the Brandenburg Gate and the Reichstag will unfortunately remain closed today, 18 June.+++

Due to possible severe weather warnings, the Fan Zones at the Brandenburg Gate and the Reichstag will unfortunately remain closed today, 18 June.+++

UEFA EURO 2024

All about the European Football Championship in Berlin

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Performance

Performance in Berlin: intelligent entertainment that grabs you

Anyone who knows the Blue Men Group knows how impressively simple and yet extremely effective and impressive performance theatre can be. Sometimes almost arbitrary choreographies with spontaneous elements come together to create a harmonious whole. Let yourself be seduced by the light-footed and energetically danced music theatre at Acker Stadt Palast. Enjoy poetry performances at Deutsches Theater Berlin or enjoy theatre and performance at Freie Universität Berlin. You're guaranteed to be surprised. Freies Theater Berlin at Ballhaus Ost will also inspire you with unusual productions by experimental directors.

FUX vs BREAKOUT

Location Volksbühne - Roter Salon Volksbühne - Roter Salon

Time 20:00 pm – 21:30 pm

https://www.volksbuehne.berlin/#/de/repertoire/fux-vs-breakout

Buy tickets

19/06/2024 + 1 additional date

Short of Lying

Location Hebbel am Ufer - HAU2 Hebbel am Ufer - HAU2

Time 20:00 pm

https://www.hebbel-am-ufer.de/programm/pdetail/luanda-casella-ntgent-short-of-l…

APOKALIPSYNC

Time 20:00 pm – 22:00 pm

https://www.volksbuehne.berlin/#/de/repertoire/apokalipsync

20/06/2024 + 2 additional dates

Tridiculous: Artistik-BeatBox-Comedy

• Summer of Culture

Location ufaFabrik: Open Air Bühne im überdachten Sommergarten ufaFabrik: Open Air Bühne im überdachten Sommergarten

https://www.ufafabrik.de/de/21575/tridiculous.html

21/06/2024 + 2 additional dates

family creatures

Location Ballhaus Ost Ballhaus Ost

Time 10:00 am

21/06/2024 + 5 additional dates

Manos Tsangaris: "GIANT", the mini-stage

• Free of charge

Location Otto-Spielplatz im Otto-Park Otto-Spielplatz im Otto-Park

Time 15:00 pm – 16:00 pm

https://www.adk.de/de/programm/?we_objectID=66455

21/06/2024 + 3 additional dates

Becoming My Body

• International

Location Ballhaus Naunynstraße Ballhaus Naunynstraße

21/06/2024 + 1 additional date

MEXA: The Last Supper

Location Sophiensaele - Festsaal Sophiensaele - Festsaal

Time 20:30 pm

https://sophiensaele.com/de/stueck/mexa-the-last-supper

• Events around the EURO 2024

Location Haus der Kulturen der Welt Haus der Kulturen der Welt

Time 15:00 pm

https://www.hkw.de/programme/ballet-of-the-masses/portent#main

Immersive Game Experience: The Rules of the Game

Time 18:00 pm – 19:00 pm

https://www.hkw.de/programme/ballet-of-the-masses/die-regeln-des-spiels#main

queer realities and virtual costumes

Location Kindl - Zentrum für zeitgenössische Kunst Kindl - Zentrum für zeitgenössische Kunst

Time 18:00 pm – 19:30 pm

https://www.hkw.de/programme/ballet-of-the-masses/el-plan#main

The Lab: Josephine Baker - Mirror And Shadow

Location English Theatre Berlin English Theatre Berlin

https://www.etberlin.de/production/josephine-baker-mirror-and-shadow/

The Silence of the Sirens: on the 100th anniversary of Franz Kafka's death

Location ufaFabrik: Wolfgang Neuss Salon ufaFabrik: Wolfgang Neuss Salon

https://www.ufafabrik.de/de/21874/das-schweigen-der-sirenen-premiere.html

Mourning Stage

Location Maxim Gorki Theater: Studio Я Maxim Gorki Theater: Studio Я

Time 21:00 pm

https://www.gorki.de/de/mourning-stage

The Stadium as a Stage and its Undergrounds

Time 16:00 pm – 18:00 pm

https://www.hkw.de/programme/ballet-of-the-masses/the-stadium-as-a-stage-and-it…

Ceremony Found: Tracing Polyrhythms in the African Diaspora

Time 19:00 pm

https://www.hkw.de/programme/ballet-of-the-masses/ceremony-found-tracing-polyrh…

26/06/2024 + 4 additional dates

GloBALL: mobile, interactive stilt theater by Grotest Maru - oversized footballers transform the globe

Location Fan Zone Brandenburger Tor Fan Zone Brandenburger Tor

Time 17:00 pm

https://draussenstadt.berlin/de/fussballkultursommer/kalender/globall-mobiles-i…

Location Malzfabrik, Speicher Malzfabrik, Speicher

https://www.lose-combo.de/aktuell

27/06/2024 + 2 additional dates

Fighting 4 Fear

Slut A Love Story

https://www.etberlin.de/production/slut-a-love-story/

Experimental Theatre in Berlin

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Cannes titles in running for top €50,000 prize at Munich Film Festival 2024

By Martin Blaney 2024-06-18T10:33:00+01:00

• No comments

Source: Luxbox

‘All We Imagine As Light’

Yorgos Lanthimos’ Kinds Of Kindness , Coralie Fargeat’s The Substance and Payal Kapadia’s All We Imagine As Light , are among the films that will screen in CineMasters, the main competition of this month’s Munich International Film Festival (MIFF), taking place from June 28 to July in Germany.

Fourteen films are in the running for CineMasters’ €50,000 ARRI Award which is presented to the producers of the best international film. Further titles include Jia Zhang-ke’s Caught By The Tides , Rúnar Rúnarsson’s When The Light Breaks , which premiered in Cannes’ Un Certain Regard section last month, as well as Jaione Camborda’s Golden Shell winner The Rye Horn and Austrian-Iranian Sudabeh Mortezai’s political drama Europa .

2024 will mark the first edition of the festival under the leadership of festival director Christoph Gröner and artistic co-director Julia Weigl. They will be presenting 150 feature-length fiction and documentary films from 53 countries, 62 of these titles having their international, world, or European premiere in Munich.

CineVision and CineRebels competitions 

A further 14 titles have been selection for the CineVision competition for emerging directors, including two films fresh from their world premieres in Cannes in May - Argentinian director Federico Luis’ Simon Of The Mountain and DoP Carson Lund’s directorial debut Eephus. Also screening are UK writer-director Luna Carmoon’s debut feature Hoard and Canadian filmmaker Harley Chamandy’s Allen Sunshine which will have its world premiere in Munich. The €15,000 CineVision award is sponsored by the Motion Picture Licensing Company.

Meanwhile, Isabella Eklöf’s Kalak, a drama set in 1990s Greenland, and Scott Cummings’ experimental non-fiction Realm of Satan are among the 14 titles selected for the CineRebels competition, dedicated to experimental filmmakers.

The films competing for the €15,000 award, sponsored by Audi and with an additional €5,000 in prize money compared to last year, also includes theatre and film director Emma Dante’s Misericordia , based on her 2020 play of the same name, Minh Quý Truong’s Vietnamese-Filipino romantic drama between two coal miners Viet and Nam , and Ukrainian Maria Stoianova’s found footage film Fragments Of Ice .

CineCoPro award

This year will see the revival of the CineCoPro competition after a four-year break. The German production partners of 10 international co-productions showing in the MIFF programme are eligible for a cash prize of €100,000 to be invested in a future co-production.

A jury comprised of writer-director Baran bo Odar ( Dark ), Leonie Benesch, lead actress of the Oscar-nominated The Teachers’ Lounge, and producer Sol Bondy of Berlin-based One Two Films ( Armand ) will decide on the winner from a line-up that includes Turkish filmmaker Nehir Tuna’s debut feature Dormitory , Argentinian co-directors Maria Alché and Benjamin Naishtat’s comedy Puan , Karim Aïnouz’s Cannes 2024 competition title Motel Destino , and Yasemin Samdereli’s Italian-German co-production Samia .

The latter is based on the true story of the Somali athlete Samia Yusuf Omar, which had its world premiere in Tribeca Film Festival’s International Narrative Competition before its screening in Munich.

CineKindl Award

The former Kinderfilmfest München will be held for the first time this year under its new name of CineKindl, which is also the name of the €2,500 award sponsored by the Munich-based production company megaherz since 2022 for the best directorial work in this section.

A three-person jury led by producer Philipp Budweg of Lieblingsfilm will decide on the winner from films including Lucy Cohen’s debut feature Edge Of Summer , Peruvian filmmaker Franco Garcia Becerra’s second feature Through Rocks And Clouds , and Clara Stella Hüneke’s graduation film Sisterqueens .

In addition, five young adults from Munch aged between 18 and 24 will make up the newly-created Young Jury which will award a prize to “a film that tells an impressive story from the world of young people’s experiences”.

The Young Jury’s competition line-up of 12 titles was selected by the festival’s programmers from various sections and includes Fernanda Valadez’s Sujo  (CineMasters), Jan Hendrik Lübbers O Chale (New German Cinema), Hisham Zaman’s A Happy Day (International Independents), and Sean Wang’s Didi (CineKindl).

10 European titles that could make a box office splash in 2024

• Munich Film Festival

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Summer Art Guide

16 art exhibits to explore this summer.

• Solon Kelleher

“Humanity on the move.” Those were the words artist Hew Locke used to describe his massive installation that opened at the ICA Watershed on May 23. It’s also a good phrase to characterize many of the exhibits in this guide. The featured art includes local and global creatives from today and many centuries ago. Altogether, they offer countless opportunities to be introduced to something new and extraordinary. Maybe it’s the humor of a dystopian video game, the fascination with Dalí’s melting clocks, a retrospective on what it meant to be a multimedia artist in 1874 or an artist’s vision of a globe without borders. Spending time with one or more of these exhibits will refresh the way you look at the fast-moving world around us.

' Hew Locke: The Procession ' ICA Watershed

Through sept. 2.

The ICA Watershed has hosted large-scale installations in recent summers: “ Firelei Báez ” in 2021 and “ Guadalupe Maravilla: Mariposa Relámpago ” in 2023. This year, London-based Hew Locke brings a parade of exuberant and masked creatures to the Watershed. The exhibit first opened at the Tate Britain in 2022 and features around 140 life-sized sculptures, each unique and brimming with character. Locke said he wanted to create a complex, celebratory representation of humanity moving forward while still carrying the baggage of the past. The artist was born in Edinborough, spent 14 years of his early life in Guyana and is now based in London. “The Procession” puts his global influences on full display.

' Hyman Bloom: Landscapes of the Mind ' & ' Barbara Bosworth: The Meadow ' Museum of Fine Arts, Boston

Through dec. 1.

You can find an oasis of natural landscapes in the heart of Boston this summer with two exhibits running concurrently at the MFA. First, Hyman Bloom’s “Landscapes of the Mind.” The trees in his drawings resemble what you might expect diagrams of nerve endings from a mid-century medical textbook to look like. Boston-based Bloom traveled to Maine in the 1950s and discovered a passion for the wooded topography. The works in this exhibit come from the time in his life when he developed a view that there were parallels between nature and the psyche. In addition to the charcoal drawings, there are also photographs, watercolors and oil paintings. The works demonstrate his study of shading and light and his technical skills in replicating them.

The second exhibit features photographs from another Boston-based artist who traveled north for natural inspiration, albeit a little closer to home in Carlisle, Massachusetts. Barbara Bosworth visited the area’s grassy marshes alongside historians, archeologists, scientists and urban foragers to learn about the lands she captured in a series of photographs called “The Meadow.” Beginning in 1996, Bosworth took photos for 15 years, alongside Margot Anne Kelley, her friend and co-author of a book that shares the exhibit’s title. The images simultaneously capture the land’s stillness and history of transformation as European settlers seized the area from the Indigenous people who had lived off the land for thousands of years prior.

' Jakob Fioole: The Sally Bishop Prize ' Worcester Art Museum

Through sept. 1.

Walk up close to one of Jakob Fioole’s paintings and focus on a corner or a small area. You may think you’re looking at something entirely abstract, not far off other works in the Worcester Art Museum’s collections , from artists such as Wassily Kandinsky and Joan Mitchell. But if you take a step back, you see that these abstractions are part of a larger, textured world. A 2023 painting titled “something nice and friendly” appears to have a donkey in a harness being flown before a city skyline. If the style of the architecture looks familiar to locals, that may be because Fioole is based in nearby Berlin. He won the top honor at the 2023 ArtsWorcester Biennial, and this solo exhibition is part of winning that prize.

' Chris Doyle: The Coast of Industry ' MASS MoCA

On view now.

If you’re looking forward to the Salvador Dalí exhibit at the MFA this July (more details below) and simply can’t wait one more month, Chris Doyle’s “The Coast of Industry” may satisfy your desire for the fantastical and colorful twists on reality. The work seems like something Dalí would have made if he had animation skills and a place to project a 300-foot-wide film. The “The Coast of Industry” uses a single wall at MASS MoCA’s Building 5 as a screen to display the large-scale looping video with musical accompaniment composed by Jeremy Turner . It’s a fitting backdrop for a film about technology and commerce as the MASS MoCA campus inhabits a former factory complex. Another exhibit at the museum titled “ The Plastic Bag Store ,” and subtitled as a tragicomic ode to the foreverness of plastic, also engages with similar themes of industry, particularly consumerism. It’s a multimedia installation made in collaboration with the famed Williamstown Theatre Festival, on view through Sept. 2. If you’re into flower pressing, you may want to visit Carly Glovinski’s “ Almanac ,” in which she brings beautiful, large images of flowers to the walls of the museum. Likewise, if you’re into music, “ Musicians on Musicians ,” an exhibit of photographs of musicians curated by the members of Wilco, opens June 22. The band is also organizing a three-day music festival June 28-30 at the museum.

' Michael Thorpe: Homeowners Insurance ' Fuller Craft Museum

Michael C. Thorpe blends tradition and his own expression in “Homeowners Insurance.” His creative flair is perhaps best documented in his stitching: an aspect of quilting that is often only used for the mechanical purpose of holding fabric together. One of his works, “sissòn,” features textured hair and skin thanks to Thorpe’s intricate stitching style. Thorpe spoke with WBUR’s Amelia Mason in 2020 about the influences on his practice. He cites his mother as his first mentor and quilting’s long history with Black women in America as a source of his inspiration. The pieces in this collection share scenes, sometimes featuring family, friends or Thorpe himself. Works such as “Inconsistency Between Persons” and “Visual Writing 4 Communication” represent more abstract ideas. Despite his accomplishments, Thorpe is still in the early years of his artistry. He says his practice and approach are still changing with time.

' On Christopher Street: Transgender Portraits by Mark Seliger ' & ' Portraits from Boston, with Love ' Isabella Stewart Gardner Museum

Through sept. 8.

Here are two exhibits about queer life that pair well together: one, centered on New York City, and another on Boston. Today, Christopher Street looks like many other roadways in NYC’s West Village: a few small boutique shops, restaurants, bars and walk-up apartments. But on June 28, 1969, it was the breaking point of a civil rights movement that would later be known as the Stonewall Uprising, a revolt of queer activists against the NYPD. The photographs by Mark Seliger “On Christopher Street” show portraits of transgender people in New York’s public spaces between 2013 and 2016 and provide a snapshot of what it is like to be transgender in these more recent times.

“Portraits from Boston, with Love” brings together works from three contemporary photographers with Boston roots and different approaches to imagining gender and sexuality in today’s society. Olivia Slaughter, a Gardner Museum artist-in-residence in January this year, made portraits of her chosen family during that time. Jaypix Belmer presents their self-portraits, and the museum describes Ally Schmaling’s work as “a psychedelic love letter using color and light for those who inspire them.”

' 88th Regional Exhibition of Art & Craft ' & ' Lost in the Woods: Mark Del Guidice ' Fitchburg Art Museum

June 21-sept. 8.

The Fitchburg Art Museum’s annual juried exhibition brings together works from 109 artists from 58 towns and cities within 30 miles of Fitchburg. It’s an annual opportunity to engage and connect with the local artist community. The grand juror for this year’s exhibition is Gabriel Sosa, the artist behind the “ La bodega de mis sueños ” installation at the Fitchburg Art Museum and one of WBUR’s 2023 Makers.

This year, the exhibit runs concurrently alongside “Lost in the Woods,” a collection of wooden sculptures from Massachusetts artist Mark Del Guidice. He studied woodworking at Boston University’s program in artisanry under Alphonse Mattia and Jere Osgood. (MFA curator Michelle Millar Fisher has called the program, which ran from 1975-1985, a “ craft supernova .”) There, he was introduced to the American Studio Furniture Movement, a postwar rejection of industrialized methods of mass production. His works use curvature, surface carvings and a diverse combination of woods to create unique sculptures and pieces of furniture.

' Fragile Beauty ' The Clark Art Institute

July 4-oct. 27.

If you’re someone who is fascinated by the glass flowers at the Harvard Museum of Natural History, you may want to make the trip to western Massachusetts for “Fragile Beauty.” The 28 objects in this exhibit come from the collection at the Corning Museum of Glass in Corning, New York. The exhibit includes works from Louis Comfort Tiffany, who revolutionized the production of stained glass, French jeweler René Lalique, Steuben and more. If you visit The Clark, be sure to also check out “ Kathia St. Hilaire: Invisible Empires ,” which was highlighted in our spring arts guide and runs through Sept. 22.

' Dalí: Disruption and Devotion ' Museum of Fine Arts, Boston

July 6-dec. 1.

Before AI generated the stuff of nightmares, there were the works of Salvador Dalí. From melting clocks to twisted dreamscapes, Dalí became one of the most prominent figures of Surrealism, the movement of artists to allow their visions to be driven by the expression of the unconscious mind. The works in this exhibit come from the MFA’s own collection as well as the Salvador Dalí Museum in St. Petersburg, Florida. They include one of his most widely known paintings, “The Disintegration of the Persistence of Memory,” as well as works such as “Ecumenical Council” in which Dalí inserts a gowned version of himself alongside a depiction of heavenly angels and religious characters. The exhibit also includes works by painters and printmakers who preceded Dalí, including “Infanta Maria Theresa” by Diego Velázquez, which Dalí paid tribute to in his painting “Velázquez Painting the Infanta Marguerita with the Lights and Shadows of His Own Glory.”

' Edgar Degas: Multi-Media Artist in the Age of Impressionism ' The Clark Art Institute

July 13-oct. 6.

For centuries, art tried to imitate images of reality in the clearest and most faithful manner. In part, as a response to the rise of photography in the early 1800s, an experimental trend in art known as impressionism swept through Europe. 150 years ago this year, a group of Parisians held the First Impressionist Exhibition. “Multi-Media Artist in the Age of Impressionism” focuses on the works of one of the artists in that 1874 show: Edgar Degas. The exhibit brings together pastels, drawings, photographs and prints of Degas’ innovative practice. Together, they offer insight into the methods and techniques he used as he was part of forging a new path for art in the 19th century as well as a peek into the 19th century French society which gave rise to the new style.

' List Projects 30: Jeremy Couillard ' MIT List Visual Arts Center

July 18-oct. 6.

Picture this. You’re dreaming of a dystopian city. When you wake up, you find that it wasn’t a dream at all, but your new reality as you navigate bordered neighborhoods and corporate control over people’s way of life. That’s the opening storyline to “Escape from Lavender Island,” an interactive video game by Jeremy Couillard and the centerpiece of this show, his first institutional solo exhibition. Self-taught coder Couillard uses games, web projects and video installations as mediums for his art, which often includes pointed commentary on society and capitalism. He uses the escapist quality of video games to raise questions about our understanding and acceptance of reality.

' Steve Locke: The Fire Next Time ' MASS MoCA

Opening aug. 3.

James Baldwin published his book “The Fire Next Time” in 1963, in the midst of the country’s civil rights movement. It consists of two of his essays: "My Dungeon Shook: Letter to my Nephew on the One Hundredth Anniversary of the Emancipation" and "Down at the Cross: Letter from a Region of My Mind." Artist Steve Locke borrows the book’s title for his exhibition at MASS MoCA, in which he explores similar themes of American history, racism and the personal experiences of Black men in America. While Locke has mostly focused on painting in his 30 years as an artist, “The Fire Next Time” puts a spotlight on his recent work, which includes a wider variety of media such as drawings and multimedia sculptures. He also incorporates data-based research in this exhibit, as in the work titled “A Partial List of Unarmed African-Americans Who Were Killed By Police or Who Died in Police Custody During My Sabbatical from Massachusetts College of Art and Design.” The exhibit also includes a new series of free-standing paintings commissioned by MASS MoCA.

' Augustina Woodgate: Ballroom ' Peabody Essex Museum

Aug. 3-march 2.

What’s left of the model of a globe when it’s been sanded down so that the colors and lines signifying geographies and borders have been worn away? Visitors at “Augustina Woodgate: Ballroom” may find themselves reflecting on that question as they walk between and around the artist’s work, a room of globes that have been erased of all markings. Woodgate, who splits her time between Amsterdam and her native country of Buenos Aires, pairs these globes with navigational artifacts from the Peabody Essex Museum’s collection.

• 8 dance events to enjoy this summer
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Solon Kelleher Arts Writer Solon Kelleher is an arts and culture contributor at WBUR.

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Medieval holy sepulchre chapels: experience and memory of jerusalem.

1. Introduction

2. winchester, 3. saint cyriacus, gernrode, 4. the cloisters cross, 5. conclusions, data availability statement, acknowledgments, conflicts of interest.

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Hennessy, C. Medieval Holy Sepulchre Chapels: Experience and Memory of Jerusalem. Religions 2024 , 15 , 741. https://doi.org/10.3390/rel15060741

Hennessy C. Medieval Holy Sepulchre Chapels: Experience and Memory of Jerusalem. Religions . 2024; 15(6):741. https://doi.org/10.3390/rel15060741

Hennessy, Cecily. 2024. "Medieval Holy Sepulchre Chapels: Experience and Memory of Jerusalem" Religions 15, no. 6: 741. https://doi.org/10.3390/rel15060741

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