Blood wants blood. This sentence from “Macbeth. After William Shakespeare” by Heiner Müller was taken more than literally by director Stephan Rottkamp. The production of the play at the Schauspielhaus in Graz begins bloody and ends bloody. In between: Blood by the bucketful.
Abuse of power begins in the family and it is passed on from there. With ‘L’etang / Der Teich’, Gisèle Vienne succeeded in creating a highly emotional adaptation of Robert Walser’s play of the same name. It shows how children are emotionally at the mercy of their parents and how much they suffer when they are deprived of love.
Tschechows „Der Kirschgarten“ in der Inszenierung von Tiago Rodrigues, überzeugte bei den Wiener Festwochen gleich in mehrfacher Hinsicht.
In ‘Un imagen interior’ by the group El Conde de Torrefiel, reaching into the magic box of post-dramatic theatre only worked to a limited extent.
TUMULUS – the new work by François Chaignaud and conductor Geoffroy Jourdain unites dance with historical and contemporary music. It tells of the transience of life as well as of the desire to celebrate and enjoy life.
In her latest production, “Todo el cielo sobre la tierra” (El sindrome de Wendy), Angélica Liddell pushes all mothers off their supposed throne, which they have ascended qua the birth of their children, and shouts at them that there is no reason for them to claim a “dignity surcharge” for themselves.