Recently, the Kammerspiele presented the world premiere of Nora Abdel-Maksoud’s satirical play Jeeps, which she also directed. Abdel-Maksoud was born in Munich and has been writing and directing her own plays since 2012. Her darkly humorous dramas criticize the crass unfairness in our society.
Courtesy of Armin Smailovic.
Having recently directed Ryan Trecartin’s The Re’Search and Eugène Labiche’s Trüffel Trüffel Trüffel at the Kammerspiele, Felix Rothenhäusler returns for his adaptation of Lars von Trier‘s apocalyptic film Melancholia (2011).
Courtesy Armin Smailovic
After Der Fall Meursault – Eine Gegendarstellung and The Assassin, Iranian director Amir Reza Koohestani returns to the Kammerspiele with his own version of the Scottish play.
Director Christopher Rüping had always felt detached from ancient Greek drama. The chorus, the language, and the role of fate created an artificial world that had nothing to do with our reality. When watching Greek drama, he found that he began to be engaged by the play only when it was almost over. When those dramas were written, they were presented at the Dionysia, a drama competition (Agon) that went on for five days. Dionysia were ecstatic festivals with free wine and free food, starting early in the morning and going on until late at night. Christopher Rüping knew he could not recreate the Dionysia but he decided to be bold and to present a tetralogy, composed of three dramas and one satyr play. Ten hours of theatre would allow his antique drama to unfold.
Courtesy of Julian Baumann.
Polish singer, actor and director Marta Górnicka began developing her concept of a new modern and tragic choir theatre at the Zbigniew Raszewski Theatre Institute in Warsaw. In 2010, Górnicka founded her “Choir of Women”and her first production This is the Chorus Speaking, which added a political dimension to her work, premiered in Warsaw the same year, followed by the award winning production Magnificat, which toured internationally.
Courtesy of David Baltzer.
In summer 1968, Viet Nam Discourse by Peter Weiss, directed by Peter Stein, premiered at the Münchner Kammerspiele. Whilst the cast were taking their bows, actor Wolfgang Neuss asked the audience to donate to the cause of the Vietcong. Neuss’s text was still part of the play as written by Peter Weiss. The actors then collected money at the exits, meant for the purchase of weapons. This action caused a major scandal and led to the cancellation of the production after only four performances by the then artistic director August Everding.
Courtesy of Julian Baumann.