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22.01.19

Works from Sasha Waltz, Constanza Macras, Stefan Pucher and Pınar Karabulut in the Volksbühne from March

We’re pleased to announce the titles of four new works that will be presented as in-house or co-productions at the Volksbühne Berlin over the rest of the current season 2018/2019:

On 7 March, Sasha Waltz & Guests will present the world premiere of their new work rauschen. A Volksbühne co-production, it takes on the topic of a society that, within the stage sets of its perfect living spaces, has lost sight of the world. This choreography for 12 dancers navigates into a process of revelation through states of groundlessness. Light designer David Finn, who has mostly worked with Waltz on her large-scale opera productions, infuses a completely white stage with his vivid spheres of light. The costumes will be designed by Bernd Skodzig, whose creations have supported Waltz’s choreographic work over many years. rauschen is Sasha Waltz & Guests’ first performance at the Volksbühne in over 20 years (1998: Travelogue I, II & III) and their first co-production with the theatre. As a special guest performance, Waltz’s classic work Allee der Kosmonauten will be presented at the Volksbühne from 2-3 March.

Constanza Macras | DorkyPark are presenting their new co-production with the Volksbühne Berlin, by and with 10 dancers, under the title Der Palast (The Palace). It’s celebrating its world premiere on 4 April. “Everyone knows about the transformation of Berlin’s centre since the fall of the wall: crumbling old buildings were occupied and filled with new life, the city developed into a point of synergy for creative and party people. This shift towards gentrification, however, also seems to come along with a cultural levelling, in which the taste of a global, well-situated middle class takes top priority. Der Palast grapples with this set of problems by, on the one hand, focusing the work on the architecture, and on the other, revealing both the city’s and its residents’ history, present and ideas for the future. Portraits by the English photographer Tom Hunter will serve as the work’s starting point. He presents social topics in the style of the old masters and is developing a series of photographs in Berlin especially for Der Palast. The international format of reality television functions as a counterpart to the architecture. Not only the prototypical characters of the jurors, but also the sets and the participants, are reproduced continually across reality formats. Various guests have been invited to appear in Der Palast within this framework of a reality show. Robert Lippok and a live band are providing the soundtrack.” Carmen Mehnert / Constanza Macras

Stefan Pucher stages Frank Wedekind’s Lulu as a new production at the Volksbühne, celebrating its premiere on 30 May. Comprised of the dramas Earth Spirit and Pandora’s Box, Wedekind’s play has had a remarkably rocky creation, production and reception history: re-writes, private performances, bans, and re-worked into the drama Lulu in the end. The title character has served as the inspiration for films both silent and talkie, an opera by Alban Berg, a transposition by Robert Wilson with music by Lou Reed, a first performance of the original text in 1988 directed by Peter Zadek in Hamburg. And yet it has remained a story of projections and Lulu as object: a man writes it, other men programme the drama at theatres, yet other men stage their fantasies. Now it’s the time of #MeToo, Harvey Weinstein has been charged, the Nobel Prize for Literature has been suspended, toxic masculinity has been recognized in its brutal and degrading forms, and it’s increasingly being prosecuted. So it’s time for Lulu to be locked away in the cabinet of poisons. Or does Wedekind also sketch out a state of unrest and the brutal, societal organisation of oppression – which Lulu is finally able to talk about? Lilith Stangenberg returns to the Volksbühne in the role of Lulu. Set: Barbara Ehnes, Costumes: Anabelle Witt.

Pınar Karabulut is directing the world premiere production of Katja Brunner’s Die Hand ist ein einsamer Jäger (The Hand Is a Lonely Hunter) on the 3. Stock stage, making its debut on 23 May. Katja Brunner, born 1991 in Zurich, is currently the most successful female playwright in Switzerland. Her plays tell stories that are virulent, decidedly female-centric and always funny. In this, her rhythmically dense language winds up the content into the abstract and becomes the driver of, and even an actor in, the plot. Die Hand ist ein einsamer Jäger, her latest text for the theatre, is an urgent poetic call, an invocation of diverse female bodies and a multi-voice declaration of war against those who allegedly have sovereignty in matters of interpretation. Director Pınar Karabulut, born 1987 in Mönchengladbach, brings strong female characters to the fore in her productions – most recently in Shakespeare’s Romeo and Juliet and Chekhov's Three Sisters at Schauspiel Köln. In a detailed and robustly radical manner, she works on highlighting the female perspective in classics and contemporary works, questioning a now-obsolete canon. Instead of giving it up, she re-defines and bursts it open.

More information about the productions, casts and dates can be found on our website at www.volksbuehne.berlin.

Thus, in total, the Volksbühne is presenting 11 premieres on the main stage in the 2018/2019 season, five of which are in-house productions, four co-productions and two transfers, for a total of around 110 performances, plus eight guest productions for 28 performances. The 3. Stock is also hosting five premieres, in addition to the youth theatre P14’s six premieres.

Tickets are available at the Volksbühne box office, by telephone on +49 (0) 30 2406 5777 and online at www.volksbuehne.berlin.

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