Johann Nepomuk Eduard Ambrosius Nestroy (1801-1862) ist in Österreich so bekannt, dass über ihn kaum ein Satz gesagt werden kann, der sich nicht im dreifachen Umfang mit passenden Zitaten aus seinen Stücken untermauern ließe. Aber was hat er dem Theater noch immer und vielleicht umso dringlicher zu sagen? Gerade jetzt, wo es manchmal nicht recht weiß, wie ihm der Kopf steht, wo es sich fragt, was seine Aufgaben in einer veränderten Gesellschaft sind und wer es in Zukunft besuchen wird.
The first time we took the theatre into a museum was with FROST in 2009. It was with that project that my collaboration with the sound designer and live electrical engineer Wolfgang Musil began. We have been following and fine-tuning that approach ever since, defining acoustic spaces in the respective architecture – whether a museum, gallery or theatre – as an essential stylistic component of our work. Musil himself describes his role in our collaborations as that of an ‘acoustic stage designer’.
7 Oct 22 – Friday
Arrival at London Heathrow: after a great and intensive rehearsal period in the Waldviertel, Lower Austria, during the summer, Alexandra Sommerfeld and I arrive in London on Friday, 7 October at the invitation of the Austrian Cultural Forum ACF. The premiere of Shadow. Eurydice says was originally planned for the autumn of 2021, but due to Covid it ended up being postponed several times …
The first rehearsal on-site is due to take place this evening. Beforehand we go to Yotam Ottolenghi’s restaurant on Pavilion Road. Simply excellent.
Under the cloak of darkness, the diggers advanced on the Albanian National Theatre in Tirana to tear down its façade. 1,500 police officers stormed the building on Sunday morning at around 4.30 a.m., using tear gas and arresting 20 of the theatre’s occupiers.
Despite police brutality resulting in several injured protesters, a group of Albanian artists and intellectuals succeeded in occupying the Albanian National Theatre, which is currently under threat of demolition, in the centre of the capital Tirana on Wednesday morning, as the Alliance to Protect the Theatre (Aleancapër mbrojtjen e Teatrit) reported that afternoon.
The 200th anniversary of Kleist’s death in late November and my general interest in working with the performer Barbara Kraus inspired me to finally get around to spending some time on my favourite author, the exhilarating Kleist, his “cheerful” suicide, his longing for Vienna, his resistance. Uncompromising, he never could resign himself to the way things were – resisting, ever resolute when it came to prevailing conditions – that’s what we’re all interested in and ultimately what brought us all together: the performer Barbara Kraus and myself, the “theatre” director, supported by a critical dramaturge and a diligent assistant.
The first time we took the theatre into a museum was with FROST in 2009. It was with that project that my collaboration with the sound designer and live electrical engineer Wolfgang Musil began. We have been following and fine-tuning that approach ever since, defining acoustic spaces in the respective architecture – whether a museum, gallery or theatre – as an essential stylistic component of our work. Musil himself describes his role in our collaborations as that of an ‘acoustic stage designer’.
Under the cloak of darkness, the diggers advanced on the Albanian National Theatre in Tirana to tear down its façade. 1,500 police officers stormed the building on Sunday morning at around 4.30 a.m., using tear gas and arresting 20 of the theatre’s occupiers.
The 200th anniversary of Kleist’s death in late November and my general interest in working with the performer Barbara Kraus inspired me to finally get around to spending some time on my favourite author, the exhilarating Kleist, his “cheerful” suicide, his longing for Vienna, his resistance. Uncompromising, he never could resign himself to the way things were – resisting, ever resolute when it came to prevailing conditions – that’s what we’re all interested in and ultimately what brought us all together: the performer Barbara Kraus and myself, the “theatre” director, supported by a critical dramaturge and a diligent assistant.
Johann Nepomuk Eduard Ambrosius Nestroy (1801-1862) ist in Österreich so bekannt, dass über ihn kaum ein Satz gesagt werden kann, der sich nicht im dreifachen Umfang mit passenden Zitaten aus seinen Stücken untermauern ließe. Aber was hat er dem Theater noch immer und vielleicht umso dringlicher zu sagen? Gerade jetzt, wo es manchmal nicht recht weiß, wie ihm der Kopf steht, wo es sich fragt, was seine Aufgaben in einer veränderten Gesellschaft sind und wer es in Zukunft besuchen wird.
7 Oct 22 – Friday
Arrival at London Heathrow: after a great and intensive rehearsal period in the Waldviertel, Lower Austria, during the summer, Alexandra Sommerfeld and I arrive in London on Friday, 7 October at the invitation of the Austrian Cultural Forum ACF. The premiere of Shadow. Eurydice says was originally planned for the autumn of 2021, but due to Covid it ended up being postponed several times …
The first rehearsal on-site is due to take place this evening. Beforehand we go to Yotam Ottolenghi’s restaurant on Pavilion Road. Simply excellent.
Despite police brutality resulting in several injured protesters, a group of Albanian artists and intellectuals succeeded in occupying the Albanian National Theatre, which is currently under threat of demolition, in the centre of the capital Tirana on Wednesday morning, as the Alliance to Protect the Theatre (Aleancapër mbrojtjen e Teatrit) reported that afternoon.